Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-10-08T12:03:36Z No. of bitstreams: 2 Dissertação - Francisco de Assis Ferreira Melo - 2018.pdf: 6103851 bytes, checksum: d55ca431a3fffc68c4343341365b34a9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-09T10:41:46Z (GMT) No. of bitstreams: 2 Dissertação - Francisco de Assis Ferreira Melo - 2018.pdf: 6103851 bytes, checksum: d55ca431a3fffc68c4343341365b34a9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-09T10:41:46Z (GMT). No. of bitstreams: 2 Dissertação - Francisco de Assis Ferreira Melo - 2018.pdf: 6103851 bytes, checksum: d55ca431a3fffc68c4343341365b34a9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-29 / The following research represents a topoanalytical perspective based on a interpretative analytical theory method which focuses on studying The Lord of The Rings (O Senhor dos Anéis) by the British author J.R.R. Tolkien, published in three volumes from 1954 to 1955. Therefore, this research uses the single volume translated to Portuguese and the original English version as well. In order to analyzing this literary work, a sequence of chapters was made to showcase in a progressive way how some different kinds of shades come together in this book, coming from The Light to The Darkness – The Light, The Twilight, The Shadow, The Night, The Darkness, and then, eventually returning to The Light with The Dawning. This analytical work is heavily based on academic literary theories to carefully examine the places and spaces of The Lord of The Rings from a perspective that considers The Fear as the main element in the Fantastic Narrative Structure, and in addition, subverting its limits as a genre according to the essentially pure theory created by Todorov, which refers directly to this type of literary production from the 19th Century. As a matter of fact, the Mode Category might be more comprehensive and makes the reader wonder how would be the Marvelous, the Fantasy and the Gothic, according to Remo Ceserani (2006) and David Roas (2014). In accordance with this point of view, it’s easily noticed the way that the Gothic creates the perfect atmosphere where the fear is the ultimate feeling that outstands and amplifies its range regarding the places and the spaces considering the objectification and personification of The Ring of Sauron that affects the characters’ psyche. All of these elements are connected and highlight: the absence of a so-called hero throughout the journey seeking The Ring; the changing of characters influenced by the spaces and places; and the confirmation of this literary work conceived as a well-structured Marvelous text. This research was based on important scholars such as Humphrey Carpenter (2018), Sandra Guardini Vasconcelos (2007), Yi-Fu Tuan (2005, 2012, 2013), Ozíris Borges Filho (2007), Mikhail Bakhtin (2010), Fred Botting (2014). In addition, this research was developed using literary works that helped to understand the process of creating some literary genres such as the Fantastic, the Gothic and the Fantasy, like Horace Walpole (1996), George MacDonald (2012), among others. / A presente pesquisa – de cunho teórico-interpretativo-analítico, em uma perspectiva da Topoanálise – tem como objetivo principal analisar O Senhor dos Anéis, obra do inglês J.R.R. Tolkien, publicada em três volumes entre 1954 e 1955. Nesta pesquisa, é utilizado volume único, tanto em língua portuguesa quanto em língua inglesa. Para atingir esse objetivo, foi elaborada uma sequência de capítulos que procuram representar de forma progressiva uma linearidade de tons luminosos e tons escuros: da Luz, passando pela Penumbra, Sombra, Noite e Escuridão, para retornar à Luz, com o Amanhecer. Tal análise é sustentada por pressupostos teóricos para a investigação de espaços e lugares, tendo o medo como elemento estruturante do texto Fantástico, subvertendo suas fronteiras enquanto gênero, limitado de acordo com a teoria todoroviana de caráter mais purista, apontando à produção deste tipo de texto no século XIX. Por sua vez, a categoria modo consegue ser mais abrangente e acaba por provocar o leitor diante do que seria o Maravilhoso, a Fantasia e o Gótico, conforme Remo Ceserani (2006) e David Roas (2014). É percebido que o Gótico consegue criar uma atmosfera onde o medo é o primeiro sentimento e, como tal, tem suas maneiras de se anunciar, ampliando sua área de atuação e implicando em espaços e lugares, como é compreendido pela objetivação e personificação do Anel de Sauron, que interfere no psicológico dos personagens. Esses elementos se correlacionam e permitem perceber: a ausência de um suposto herói em toda jornada do Anel, a mudança dos personagens influenciados pelos espaços e lugares, a confirmação da obra enquanto um texto Maravilhoso pelos elementos que o constituem. A pesquisa se baseia em autores como: Humphrey Carpenter (2018), Sandra Guardini Vasconcelos (2007), Yi-Fu Tuan (2005, 2012, 2013), Ozíris Borges Filho (2007), Mikhail Bakhtin (2010), Fred Botting (2014). Também são utilizadas obras literárias de autores que ajudaram a delimitar o espaço de surgimento do Fantástico, do Gótico e da Fantasia, como Horace Walpole (1996), George MacDonald (2012), dentre outros.

Despite considerable research on the British North American colonies and their political relationship with Britain before 1776, little is known about the administration of Nova Scotia from the perspective of Lord Halifax’s Board of Trade in London. The image that emerges from the literature is that Nova Scotia was of marginal importance to British officials, who neglected its administration. This study reintegrates Nova Scotia into the British Imperial historiography through the study of the “official mind,” to challenge this theory of neglect on three fronts: 1) civil government in Nova Scotia became an important issue during the War of the Austrian Succession; 2) The form of civil government created there after 1749 was an experiment in centralized colonial administration; 3) This experimental model of government was highly effective. This study adds nuance to our understanding of British attempts to centralize control over their overseas colonies before the American Revolution.

Diplomová práce se zabývá tématem alternativních ukazatelů vývoje hospodářství, které berou v úvahu úroveň štěstí ve společnosti. Zkoumá, za jakých historických souvislostí v první polovině 20. století vznikal ukazatel HDP a na co tehdy reagoval a snaží se nastínit, co se od té doby změnilo. Cílem je odpovědět na otázky, zda má smysl měřit indexy na základě štěstí a zda již dozrála doba na rozšíření povědomí o nich.

This thesis examines the work of the poet Alfred Lord Tennyson and the treatment of religion in his works during the increasingly scientific Victorian Era.

Det här arbetet har gått ut på att jag har analyserat och fördjupat mig i tre professionella mixteknikers arbetsprocesser. Jag har studerat deras arbetsflöden, tillvägagångssätt och specifika metoder i syfte att skaffa mig ny kunskap och nya perspektiv på mixning. Jag har sedan gjort praktiska undersökningar där jag testat på att mixa utifrån teknikernas arbetsprocesser för att skaffa mig en djupare förståelse kring deras olika sätt att arbeta på. Det jag kommer fram till i mitt arbete är att det viktigaste för att mixa på en professionell nivå är att ha rätt tankesätt. Det finns stora tekniska skillnader mellan de tre professionella mixteknikerna men den gemensamma nämnaren är att de alla har samma syfte och helhetstänk bakom sina tekniska beslut. Detta har således givit mig insikt i att jag själv behöver bli bättre på att fokusera utifrån ett helhetstänk istället för på specifika tekniska metoder för att nå en högre nivå i min roll som mixningstekniker.

J.R.R. Tolkien’s pioneering work of fantasy fiction, The Lord of the Rings, was written in a period of twelve years, starting in 1937 during WWII and ending in 1949 a few years after the war ended. However, Tolkien’s experience with war began in 1915, when he entered combat in WWI as a young second lieutenant. Understandably, Tolkien’s war experiences have led many fans and scholars to question to what extent the World Wars influenced his works. In response to these queries Tolkien adamantly denied any connection, stating in the forward to the second edition of LOTR that “The real war does not resemble the legendary war in its process or its conclusion.” Despite Tolkien’s flat denial of any connection between his personal war experiences and his fictional world, many critics have dedicated their studies to identifying concrete similarities that exist between LOTR and WWI. Yet, there exists a substantial and entirely ignored connection between Tolkien’s own wartime experience and his writings. More specifically, no significant study exists examining the connection between Tolkien’s depictions of medical treatments in LOTR and his own experiences with wartime medicine. These connections are particularly noteworthy because after the trauma of the Somme, Tolkien spent almost the entirety of the war as an invalid, in and out of war hospitals. Tolkien’s descriptions of medical remedies, which are richly detailed and significant to the plot, are therefore connected to his own experience. Examining each of these remedies within LOTR and linking them to medical practices used in WWI reveals previously unidentified points of correlation.

Scholars studying memory, literary tourism, and Byron all note the cooperation between author and audience at work in memorials--be it in terms of speech and response, hospitality and reception, or memory and forgetting. None, however, address the environment at Newstead as an agentic being involved with Byron's memorial legacy. Byron acknowledged multispecies beings as important actors in his eventual legacy. Through some of his early poems, we see the land under and around Newstead Abbey, as well as its nonhuman life, exercising agency and affecting Byron's memory. I limit my analysis to Byron's early poetry partly to trace how a younger, more earnest Byron relied on Romantic memory-building culture and partly to focus on the effects that Newstead had on Byron's legacy. My primary objects of study are the following poems: "On Leaving Newstead Abbey" (composed 1803), "To an Oak in the Garden of Newstead Abbey" (1807), "Elegy on Newstead Abbey" (1807), and "Inscription on the Monument of a Newfoundland Dog" (1808). Each of these addresses the Byrons' ancestral estate as an ecology which Byron imbued with poetic purpose, and the core location of his youthful legacy-building project. I address the poems in chronological order to show how Byron recruits and unites different voices to support his legacy. Focusing on Newstead in this sense sheds light on any number of related phenomena pertaining to Byronism, especially monuments, Byron's home, and other aspects of material culture that honored Byron's posthumous legacy. Given that, within years of writing these four poems, Byron would become known worldwide as the quintessential Romantic poet, his ancestral home, like other things and spaces that came to stand in for him, offers a highly useful and arguably paradigmatic case study. That it is not just a monument, but a composite being acting in and made up of literal and memorial ecosystems, suggests a kind of memorial agency or voice emerging from Newstead. This influence supports what Byron poetically speaks about and into Newstead and expands our notion of what effective memorials entail, effectively advocating for more and better study of environmental actors within reception studies.

Modern accounts of the meaning of “fear of the LORD” in the Hebrew Bible have tended to distance this important concept from the emotion of fear, offering alternative understandings as worship, obedience, or wisdom. This essay examines phrases such as “fear of the LORD,” “fear of God,” and “God-fearer,” across four sets of texts in the Hebrew Bible: 1) narratives in Genesis and Exodus; 2) Deuteronomy and other Deuteronomistic literature; 3) wisdom literature; and 4) Psalms. I argue that fear of the LORD/God in the Hebrew Bible typically does connote an emotional fear response that has in view divine power over life and death. The links between such fear and worship, and obedience, and wisdom that are attested in numerous biblical texts are not evidence of synonymy but a recognition of the fundamental link between emotion, cognition, and action. Recent developments in the study of emotion illuminate their interrelationship and the ways in which fear of the LORD/God is also socially shaped and shaping.

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