Made available in DSpace on 2016-04-18T21:31:42Z (GMT). No. of bitstreams: 3 Nancy Rabello de Barros Trindade1.pdf: 1778814 bytes, checksum: ad461c8e8d6507d5c0843338cb46d6f3 (MD5) Nancy Rabello de Barros Trindade2.pdf: 1968804 bytes, checksum: 02df8902cae1efb70a500dae3393870d (MD5) Nancy Rabello de Barros Trindade3.pdf: 1066617 bytes, checksum: 393823f5c90f9686c3b927def86d8951 (MD5) Previous issue date: 2008-06-26 / Fundo Mackenzie de Pesquisa / This paper´s objective is to focus on the witch of the fairy tales - more specifically on they way witches are perceived by adults and children. In order to better understand and develop this theme, it seeks background on Jung himself and authors as Paz, von Franz, Coelho, Byington - who follow the Analytical Psychology of Jung on their studies about fairy tales. The research is enriched by the perspectives of authors as Darnton, Clark and Nogueira, who analyze the construction of the images of the witch and the woman within the historical context. The structure of the fairy tale was based on Propp's view among other authors who analyze the fairytale through the actions of the characters within it. It was also analyzed the contribution of this character to the development of the children's personality. The main concepts related to fairy tales (archetypes, Great Mother and other archetypical images) were also identified on several chapters. The symbols and images are the focus of the following chapter, as it is through the symbolic language that the fairy tales bring out their meanings to the mankind. The authors used to understand the symbols are Byington, Neumann, Bussato and Kast among others. This study is divided in 2 great moments: theoretic data and interviews conduct among children and adults. For interviews work, 3 stories were chosen: Hänsel and Grethel, Snow white and Rapunzel, which represent the witch in 3 different perspectives. After listening to the stories, the children were invited to draw the witch. Those drawings were analyzed using as a starting point the theories of Arttherapy, supported by authors as Futh, Derdyk, Cox and Mèredieu. The conclusion achieved from the conducted study is that the witches are not perceived by children as being totally mean, and that this character has a fundamental part in order to allow the fairy tales to accomplish its potential of helping children across their childhood. / Esta dissertação visa analisar e estudar a bruxa nos contos de fadas. Busca, no teórico e no prático, a resposta para uma questão principal: como as crianças e adultos da atualidade vêem a bruxa nos contos de fadas? Para melhor entender e desenvolver este tema, busca-se respaldo em Jung e autores como Paz, von Franz, Coelho e Byington, que seguem a linha da Psicologia Analítica de Jung para seus estudos sobre os contos de fadas. A construção da personagem também é vista ainda sob o olhar de historiadores como Darnton, Clark e Nogueira, que analisam a figura da bruxa e da mulher no contexto histórico. Em relação à parte teórica, buscou-se observar a estrutura dos contos sob o olhar de Propp e de outros tantos que fazem análises através das ações e das personagens neles inseridos. Analisaram-se os principais conceitos relacionados aos contos de fadas e suas personagens, como arquétipo, Grande Mãe e imagens arquetípicas, além da contribuição da bruxa na formação da personalidade das crianças. Os símbolos e as imagens são privilegiados ao longo do trabalho, pois é através da linguagem simbólica que os contos transmitem seus conteúdos à humanidade. Os autores usados para entender os símbolos são Byington, Neumann, Bussato e Kast, entre outros. Este estudo está dividido em dois grandes momentos: os dados teóricos e as pesquisas realizadas com crianças e adultos. Para a parte prática foram escolhidos três contos: João e Maria, Branca de Neve e Rapunzel, que apresentam a bruxa de diferentes maneiras. Após ouvirem os contos, as crianças foram convidadas a desenhar a bruxa e, posteriormente, buscou-se analisar estes desenhos a partir das teorias da Arteterapia, com aporte teórico de autores como Futh, Derdyk, Cox e Mèredieu. A partir das atividades conduzidas, chegou-se à conclusão de que as bruxas dos contos de fadas não são percebidas como puramente más, uma vez que a personagem é importante para que os contos de fadas cumpram seu potencial para ajudar as crianças a atravessarem a infância.

This thesis is an intensive, multi-layered analysis of an unpublished, English language, handwritten, mid-20th century manuscript. Originally undated, untitled and unsigned, it has now been positively identified as “Text A”, a Wiccan proto-Book of Shadows compiled by Gerald Brosseau Gardner (1884-1964) in the last half of the 1940’s. Different methodologies were applied to the document: transcription using Leiden conventions, handwriting analysis to identify the author, archival research to uncover photographs of the manuscript in use, historical and bibliographical research to situate the manuscript and its author, and finally, an in-depth and exhaustive source analysis to uncover literary and documentary influences on the text. Subsequently, the manuscript was identified as handwritten by Gerald Gardner, from 1940 to 1949, and contains almost no original material other than a handful of pages for a speech or oral presentation. The rest of the document is comprised of extracts from published sources available to Gardner. These include books on Free Masonry, Templars, British Folklore, Kabbalah, Magic – ancient and ceremonial, and books by Aleister Crowley. The document also includes ritual passages and ceremonies, most of which also appear in Gardner’s published novel, High Magic’s Aid. Two theme-lines, “Magic – ancient and ceremonial” and “the writings of Aleiser Crowley”, comprising almost 40% of the total page count, were chosen for thorough analysis. Based on the information revealed by the various methodologies applied to this document, one can assert that Gardner’s claims to have been initiated into an ancient indigenous tradition, Wicca, and to be making available its long secret rituals are not supported by this document.

This master thesis content is alternative design of one span single-railed steel bridge. The bridge is located in km 44,179 on the track Jaroměř - Dvůr Králové. Crossing barrier is roadway I/33. The teoretical distance between supports is 42 m. Main bearing structure is designed as Langer beam. Structure consist of beams, arcs, suspenders, bridge deck with longitudinal and transversal bracings. Elements of the structure are made out of steel S355J2+N, S235J2+N, S355NL. The bridge is designed according to current standards ČSN EN.

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)

La investigación presente busca examinar el recelo –dígase de aquel temor o suspicacia frente a algo o alguien por suponer que conlleva u oculta algún peligro- y su relación con la construcción de la figura de la bruja dentro de la narrativa de los largometrajes “Antichrist” (2009) de Lars Von Trier y “The Witch” (2015) de Robert Eggers. Luego, dada la relación de la bruja y el recelo con la naturaleza circundante, siendo en su específico el espacio del bosque -significativo dentro de ambos largometrajes-, es que se incluirá su discusión dentro de nuestra investigación. Ello se hará a través de una metodología de corte cualitativo, utilizando matrices de análisis creadas a fines de la investigación de ambos largometrajes. Las matrices serán un primer paso para identificar los elementos de investigación y unidades temáticas de las distintas secuencias, a partir de las cuales se redactará el análisis en sí. El fin de la presente tesis es ahondar en la discusión sobre la obra de Von Trier y ser una de las primeras investigaciones acerca de la incipiente obra de Eggers, ofreciendo un marco de investigación inusual sobre lo escrito en torno a “Antichrist” (2009), esto es, aquel interesado por analizar a sus personajes y narrativa en lo relativo la figura de la bruja. Es en esta misma línea que esperamos también aportar a la investigación sobre el cine de terror, y las representaciones de lo femenino y la mujer dentro del mismo, motivo que creemos se verá muy enriquecido siendo el foco de atención el de la bruja, personaje y arquetipo sobre el que habrá mucho que discutir dado lo interesante que es observársele en relación al discurso que la construyó, la religión, el marco interesado por discutir cuestiones de género y a la mujer en el terror.

Mémoire en recherche-création. / La figure de la sorcière et sa parole envoûtante sont au cœur de ce mémoire de recherche-création. Le roman Filles d’Hécate explore les effets d’une parole sorcière au sein d’une communauté carcérale. Dans un pénitencier pour femmes, la narratrice et terroriste « ratée », Sarah, est témoin de la révolte de ses consœurs, menées par une mère infanticide que toutes appellent ‘Ma. Le récit à la première personne, entrecoupé de rituels à la troisième personne du pluriel, gravite autour de cette femme autrefois docile qui s’est soudainement réclamée sorcière, entraînant toute sa communauté dans une confrontation avec l’ordre établi. Dans un univers hautement surveillé et réglementé, quel est le poids de cette parole de contre-pouvoir, se propageant par les rumeurs et les superstitions ? Quel est le potentiel libérateur de ces discours de la marge pour des femmes autrement privées d’agentivité ? L’essai Contamination et performativité de la parole sorcière dans Les Enfants du sabbat d’Anne Hébert propose, quant à lui, de penser les effets de la parole sorcière dans les structures de pouvoir qui régissent la vie au sein du couvent des Dames du Précieux-Sang. Comment la narratrice, Julie, arrive-t-elle à contaminer à la fois l’ordre établi, s’appropriant jusqu’aux pouvoirs de la mère supérieure et de l’abbé Flageole, mais aussi les discours des autorités religieuses ? Il apparaît que la parole performative mise en scène par Hébert opère un renversement des rôles nécessaire à la prise de pouvoir de Julie, conjurant par la même occasion les violences lui étant adressées. La voix transcendante de la jeune religieuse, qui traverse les lieux et les époques et qui est capable de se travestir, vient ouvrir un espace de doute et de profanité au cœur de l’apparente pureté de l’institution religieuse. La parole de Julie de la Trinité acquiert une puissance quasi divine permettant à la sorcière de revisiter son passé et de surpasser sa mère, sorcière désormais déchue. / The witch and her bewitching speech are at the center of this M.A. thesis combining research and creative writing. The novel Filles d’Hécate explores the effects of the witch speech on a carceral community. In a women’s penitentiary, the narrator and “failed” terrorist, Sarah, witnesses the revolt of her sisters, lead by an infanticidal mother that everyone calls ‘Ma. The story in the first person, punctuated with rituals in the third person, revolves around this once docile woman who suddenly has claimed to be a witch, bringing her whole community into a confrontation with the established order. In a highly supervised and regulated universe, what is the weight of this counter-power speech, mainly propagated by rumours and superstitions ? What is the liberating potential of these discourses of the margin for women otherwise deprived of agency ? The essay Contamination et performativité de la parole sorcière dans Les Enfants du sabbat d’Anne Hébert proposes to think about the effects of the witch speech in the power structures that govern life within the “Dames du Précieux-Sang” convent. How does the narrator, Julie, manages to contaminate both the established order, subverting through appropriation the power of the Superior Mother and Abbot Flageole, but also the very discourses of the religious authorities ? It appears that the performative speech written by Hébert operates a reversal of roles necessary for Julie’s empowerment, at the same time countering the violence directed at her. Her transcendent voice, which crosses places and eras and can disguise itself, opens a space of doubt and profanity within the apparent purity of the religious institution. The speech of Julie of the Trinity acquires a quasi-divine power, allowing the witch to revisit her past and surpass her mother, now a fallen witch.

While the strategy of lending a voice to the monstrous is a well known aspect of Howard Phillips Lovecraft's works, the female monster is a notable exception to this case. In this thesis, I excavate a theory of female monstrosity through a reading of some of Lovecraft's most read stories and the agency of female characters that appears within. Comparing these female registers of monstrosity to their masculine counterpart, I develop a concept of female monstrosity manifested through categories of class, race and gender with the help of Judith Halberstams theories of monstrosity. Rather than treating these women as active characters, I argue that Lovecraft's inability to handle these monsters forces him to literally put them away – in attics, cellars, or boxes. These are the marginalized positions from which these women elaborate a monstrous form that transcends the boundaries of sex, gender, class and race. Here lurks a female monster, powerful, independent and evil, Lovecraft's treatment of which reveals his fear of its unfettered emergence. Thus Lovecraft’s narrative technique is broken by his own creation. Indeed, these women, in their reproductive capabilities and the monstrous motherhood they represent, are the true monsters of the Lovecraftian universe.

No description available.

This thesis focuses on the significance of blood and the perception of the body in both learned and popular culture in order to investigate problems of identity and social exclusion in early modern Europe. Starting from the view of blood as a liminal matter, manifesting fertile, positive aspects in conjunction with dangerous, negative ones, I show how it was believed to attract supernatural forces within the natural world. It could empower or pollute, restore health or waste corporeal and spiritual existence. While this theme has been studied in a medieval religious context and by anthropologists, its relevance during the early modern period has not been explored. I argue that, considering the impact of the Reformation on people’s mentalities, studying the way in which ideas regarding blood and the body changed from late medieval times to the eighteenth century can provide new insights about patterns of social and religious tensions, such as the witch-trials and persecutions. In this regard the thesis engages with anthropological theories, comparing the dialectic between blood and body with that between identity and society, demonstrating that they both spread from the conflict of life with death, leading to the social embodiment or to the rejection of an individual. A comparative approach is also employed to analyze blood symbolism in Protestant and Catholic countries, and to discuss how beliefs were influenced by both cultural similarities and religious differences. Combining historical sources, such as witches’ confessions, with appropriate examples from anthropology I also examine a corpus of popular ideas, which resisted to theological and learned notions or slowly merged with them. Blood had different meanings for different sections of society, embodying both the physical struggle for life and the spiritual value of the Christian soul. Chapters 2, 3 and 4 develop the dualism of the fluid in late medieval and early modern ritual murder accusations against Jews, European witchcraft and supernatural beliefs and in the medical and philosophical knowledge, while chapters 5 and 6 focus on blood themes in Protestant England and in Counter-Reformation Italy. Through the examination of blood in these contexts I hope to demonstrate that contrasting feelings, fears and beliefs related to dangerous or extraordinary individuals, such as Jews, witches, and Catholic saints, but also superhuman beings such as fairies, vampires and werewolves, were rooted in the perception of the body as an unstable substance, that was at the base of ethnic, religious and gender stereotypes.

The South African legal system is dualistic in nature with the one part consisting of the Western common law and the other consisting of African customary law. Although these two legal systems enjoy equal recognition, they regularly come into conflict with each other due to their divergent value systems. It is especially within the context of the South African criminal law that this conflict becomes apparent, because an accused's conduct can be viewed as lawful in terms of African customary law, but unlawful in terms of the South African common law. In such cases the accused may attempt to raise a cultural defence by putting forth evidence of his cultural background or values to convince the court that his prima facie unlawful conduct is actually lawful and that he should escape criminal liability. Alternatively, an accused may put forth evidence of his cultural background or values in an attempt to receive a lighter sentence. The question which therefore arises is whether a so-called "cultural defence" exists in the South African criminal law, and if so, what the influence of such a defence on the South African criminal law is. The conflict between African Customary law and the South African common law in the context of the criminal law arises due to the fact that the indigenous belief in witchcraft, (including witch-killings), the indigenous belief in the tokoloshe and the use of muti-medicine (including muti-murders), as well as the phenomenon of "necklacing" and the custom of ukuthwala can result in the commission of various common law crimes. In the case of witch-killings, the perpetrators can be charged with the common law crimes of murder or, if the victim survives, attempted murder, common assault or assault with intent to do grievous bodily harm. Similarly, necklacing, as a method used for killing witches, can also result in the commission of these common law crimes. What is more, the perpetrators of witch-killings can also be charged with the statutory crimes of accusing someone of witchcraft, pointing the victim out as being a witch or wizard or injuring a person based on information received from a traditional healer, or similar person. The indigenous belief in the tokoloshe can lead to the commission of the common law crimes of murder or, if the victim survives, common assault or assault with intent to do grievous bodily harm. The perpetrators of mutimurders can also face charges of murder or attempted murder, if the victim survives. The indigenous custom of ukuthwala can result in the commission of common law crimes such as abduction, kidnapping and common assault, as well as the statutory crime of rape. A perusal of South African case law dealing with the indigenous beliefs and customs above reveals that the accused in such cases have indeed attempted to put forth evidence of their indigenous beliefs or customs to persuade the criminal courts that they should escape criminal liability for a particular crime. In fact, these arguments were raised within the context of the existing common law defences such as private defence, necessity, involuntary conduct and a lack of criminal capacity. However, the South African criminal courts have up till now in general been unwilling to accept arguments of indigenous beliefs and customs to serve as a defence, either alone or within the context of the existing defences above, for the commission of a common law or statutory crime. They have, however, been more willing to accept evidence of an accused's indigenous belief or custom to serve as a mitigating factor during sentencing. The extent to which an accused's cultural background will serve as a mitigating factor will, of course, depend on the facts and circumstances of each case. As a result an accused who is charged with the commission of a culturally motivated crime has no guarantee that his cultural background and values will in fact be considered as a mitigating factor during his criminal trial. It is thus ultimately concluded that a so-called "cultural defence" does not exist in the South African Criminal law. The indigenous beliefs and customs above not only result in the commission of common law or statutory crimes, but also in the infringement of various fundamental human rights in the Constitution. Witch-killings result in the infringement of the constitutional right to life and the right to freedom and security of the person. However, witches and wizards who are persecuted for practising witchcraft are also denied their right to a fair trial entrenched in the Constitution. Similarly, muti-murders and necklacing also result in the infringement of the right to life and the right to freedom and security of the person entrenched in the Constitution. The custom of ukuthwala results in the infringement of the right to equality, the right to freedom and security of the person, the right to live in an environment that is not harmful to health or well-being, the right not to be subjected to slavery, servitude or forced labour, the right to basic education and other constitutional safeguards aimed at protecting children. In light of the constitutional right to freedom of culture and the right to freely participate in a cultural life of one's choosing the question can be asked whether the time has come to formally recognise a cultural defence in the South African criminal law. In this study it is argued that these constitutional rights do not warrant the formal recognition of a cultural defence. Instead, it is recommended that the conflict between African customary law and the South African common law can be resolved by bringing indigenous beliefs and customs in line with the values that underpin the Constitution as the supreme law of South Africa. Of course, this does not mean that the courts should ignore cultural considerations during a criminal trial if and when they arise. In fact, as pointed out in this study, the courts have a constitutional duty to apply African customary law when that law is applicable. It goes without saying that, when an accused attempts to escape criminal liability for his unlawful conduct by raising arguments of his cultural background, African customary law will be applicable and must be considered by the court. This in turn raises the question as to how the criminal courts can ensure that they give enough consideration to the possibility that an accused's criminal conduct was culturally motivated so as to comply with their constitutional mandate referred to above. Although it would be nearly impossible to formulate a perfect or flawless approach according to which a judicial officer can adjudicate criminal matters involving culturally motivated crimes, the author suggests the following practical approach which may provide some guidance to judicial officers in dealing with cases involving culturally motivated crimes: • Step 1: Consider whether the commission of the crime was culturally motivated or not. If it seems as though the accused did not commit a culturally motivated crime, the trial can continue on that basis. If, however, it is evident that the accused indeed committed a culturally motivated crime, step 2 follows. • Step 2: Once it has been determined that the commission of the crime was culturally motivated, the next step is to determine which indigenous belief or custom led to the commission of the crime. Once the relevant indigenous belief or custom has been identified, step 3 follows. • Step 3: When it is clear which indigenous belief or custom led to the accused's commission of the crime, the next step is to determine whether arguments pertaining to that particular indigenous belief or custom may be raised within the context of the existing defences in the South African Criminal law in order to exclude the accused's criminal liability. If an accused relies on one of the existing defences in the South African criminal law, he will have to lay a proper evidential foundation for his defence before the court. In assessing the evidence put forth by the accused, the judicial officer must consider the judgment and reasoning in previous cases dealing with the particular indigenous belief or custom. A judicial officer must also consider the values underpinning the Constitution when conducting such an assessment. If a judicial officer upholds an accused's defence, the accused is acquitted. However, if the judicial officer rejects an accused's defence, the accused must be convicted and step 4 follows. • Step 4: Once an accused has been convicted, a court should consider whether arguments of his cultural background can serve as an extenuating circumstance, mitigating the punishment to be imposed on him. However, the practical approach above merely serves as a suggestion to judicial officers in dealing with culturally motivated crimes and ultimately it will be up to the judiciary to develop both the Western common law and African customary law to resolve the criminal law conflicts between these two legal systems. The research for this study was concluded in November 2013. / LLD, North-West University, Potchefstroom Campus, 2014