Thesis (D. Min.)--Iliff School of Theology, 2006. / Includes abstract. Includes bibliographical references (leaves 186-196).

Submitted by Guilherme Augusto Louzada Ferreira de Morais null (gui_amorais@hotmail.com) on 2018-02-19T23:21:31Z No. of bitstreams: 1 Dissertação_Morais_2018.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-21T18:35:01Z (GMT) No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) / Made available in DSpace on 2018-02-21T18:35:01Z (GMT). No. of bitstreams: 1 morais_galf_me_sjrp.pdf: 1959729 bytes, checksum: e4bb69bb4962e19ac63cfef3f80a903e (MD5) Previous issue date: 2018-02-06 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Estudamos a série de livros “Jogos vorazes” (2010-2011) com o objetivo de demonstrar como se dá a permanência e a representação do modelo heroico da Antiguidade Clássica na Contemporaneidade por meio da análise da caracterização da personagem feminina Katniss Everdeen. Para tanto, enfocamos a personagem criada por Collins e as características que a definem como heroína, comparando-a ao modelo heroico clássico descrito por tantos autores da Grécia e Roma, como, por exemplo, Homero, Hesíodo, Vergílio, etc., e considerando também as reflexões sobre o herói tecidas por Campbell em O herói de mil faces (1997), dentre outros títulos e autores que embasam nossos estudos. Percebemos que há, na série, uma mudança na representação de arquétipos literários, a saber, herói clássico versus donzela clássica, visto que Katniss Everdeen assume o papel de herói e Peeta Mellark, tributo masculino, assume o papel de donzela, pois, em grande parte do enredo, é salvo por ela. Dessa forma, buscamos verificar o que desvia a trama em estudo dos moldes então estabelecidos pelos Clássicos, ou seja, como Collins redefine os padrões da Literatura Clássica greco-romana, nos quais o homem era guerreiro e a mulher era dona de casa. Para isso, iniciamos nossas considerações a partir de Jung (2002), porque autores como Randazzo (1996), Vogler (2006) e Meletínski (1998), dentre outros, partem das postulações do psicanalista suíço para discutirem a respeito de arquétipos encontrados na publicidade, literatura e cinema. No percurso do estudo da heroína, realizamos uma breve comparação entre Katniss, outrora escravazida pela Capital (em uma espécie de escravidão velada), que se torna heroína e símbolo de toda uma revolução, e o herói masculino de outra obra, Espártaco, escravo e gladiador da Trácia, que foi líder de uma revolução conhecida por Guerra dos Escravos, conforme se pode comprovar no romance Espártaco, de Howard Fast (1981), publicado originalmente em inglês em 1951, e no filme baseado nesta obra literária, de Stanley Kubrick (1960), com a finalidade principal de comprovar a mudança no tratamento dos arquétipos e averiguar a presença de elementos ligados à cultura romana na série escrita por Collins. Enfim, buscamos verificar de que modo o modelo de Herói Clássico, seja na figura dos heróis mitológicos, seja na personagem histórica de Espártaco, é representado na caracterização da protagonista feminina de “Jogos vorazes” e quais significados tais representações acrescentam à interpretação da série. / The present study aims at analyzing the series titled “The Hunger Games” to demonstrate, by observing the characterization of the female character Katniss Everdeen, how the representation of the heroic model from Classical Antiquity persists in Contemporary Literature. In order to do so, we have focused on the character created by Collins and the features that define her as a heroine, comparing her to the classical heroic model described by several authors in Greece and Rome, such as Homer, Hesiod, Vergil, etc., as well as to specifications about the hero character presented in “The Hero with a Thousand Faces” (1997), by Joseph Campbell, along with additional information on the topic provided by other authors. We have observed a change, in Collins’ novels, regarding the representation of literary archetypes, namely the classical Hero versus the classical Maiden, as Katniss Everdeen takes the role of the Hero and Peeta Mellark, the male tribute, plays the role of the Maiden, for throughout a large part of the plot he is saved by her. Therefore, we seeked to verify what deviates the plot in study from the patterns once established by Classical tradition, or, in other words, to observe how Collins redefines the standards of the Greco-Roman Classical Literature, in which the man was a warrior and the woman was a housewife. Our study is based on Jung (2002) because authors such as Randazzo (1996), Vogler (2006) and Meletínski (1998), among others, consider the postulates of the Swiss psychoanalyst to discuss archetypes found in advertising, literature and cinema. In the course of the study of the heroine, for the purpose of proving the change in the treatment of archetypes and ascertaining the presence of elements related to the Roman culture in the series written by Collins, we made a brief comparison between Katniss, once slaved by the Capitol (in a kind of veiled slavery), who becomes a heroine and a symbol of an entire revolution, and the male hero of another artwork, Spartacus, a slave and gladiator from Thrace who was the leader of a revolution known as the “War of the Slaves,” as it can be seen in Howard Fast’s (1981) novel Spartacus, originally published in English in 1951, and in the film based on this literary work, directed by Stanley Kubrick (1960). Finally, our study demonstrates that the Classical Hero model, whether taken from mythological heroes or from the historical character of Spartacus, plays an important role in the characterization of the female protagonist of “The Hunger Games,” adding different meanings to the interpretation of the series. / Proc. 2015/23592-6

This dissertation asserts that women’s anonymity in seventeenth-century devotional texts functions as a performance to be understood rather than a mystery to be solved. Anonymity has long been framed as merely a protean form of authorship or a barrier to the recovery of a lost literary history. The archive frequently renders anonymity invisible or reveals anonymity at the moment of its undoing; however, this study of women’s anonymity contends that, although women applied anonymity to avoid the stigma of print, their anonymity functions less as a blind than as a frame to emphasize those traits they wished most to expose. In my first and second chapters, I demonstrate how the anonymous Eliza’s Babes (1652) and the nearly anonymous An Collins’s Divine Songs and Meditacion (1653) use the anonymous text to replace the signification of sick, infertile, and therefore volatile female bodies with an imitative production of devotion that constitutes the text as a divinely-restored, alternatively-productive body through which they relate to God and reader. Readers’ positive reception of this devotional re-signification of the body’s productivity countermands stereotypes readers hold against women writing, affirms the woman writer as faithful, and reincorporates both reader and writer in a corporate body of believers through their mutual participation in devotional practices. My third chapter affirms the perceived authority of anonymity’s corporate voice through the exploration of George Hickes’s retroactive attribution of several late seventeenth-century anonymous devotional texts to Susanna Hopton. I argue that the derivative nature of the anonymous devotional collections invests them with a corporate voice Hickes finds to be a valuable asset in his defense of Hopton’s devotional acumen. Drawing together scholarship on seventeenth-century relationality and intersubjectivity, readership, devotion, and women’s health, this study reconsiders the signification of women’s anonymity and their unoriginality as a tool that facilitates agentive reading and rehabilitates women’s claim to corporate belonging. / Thesis / Doctor of Philosophy (PhD)

Recent advances in near-field acoustical holography (NAH) have expanded the theory to interior spaces where multiple sources and/or reflections are present. In 1990, Tamura presented the spatial Fourier transform separation method to measure the reflection coefficient at oblique angles using two measurement planes in the wave number domain. This paper adapts the spatial Fourier transform separation method for application in interior NAH. A practical exploration of important experimental parameters is performed, which include the relative amplitudes of primary and disturbing sources, the measurement plane separation distance, and an acceptable noise floor. This technique is successfully applied in a reverberant environment to reconstruct the velocity of a clamped vibrating plate. NAH methods based on the measurement of pressure and particle velocity have led to the ability to reduce the required measurement locations. Other recent advances in NAH have expanded the theory to interior spaces where multiple sources and/or reflections are present. This paper investigates the use of interpolation techniques to reduce the required measurement locations for interior NAH. Specifically, the benefits of a bi-cubic Hermite surface patch interpolation are discussed and compared to other interpolation routines. Although the required inputs for the Hermite interpolation can be measured using a variety of devices, a scanning six-microphone probe in a tetrahedral configuration is suggested. The six microphones are utilized to simultaneously sample pressure on two parallel planes and estimate the pressure gradients on both of these planes. The two interpolated measurement holograms are used to separate the incoming and outgoing waves using the spatial Fourier-transform method. Analytical simulations of simply supported plates are shown as well as experimental results in a reverberation room to characterize the reduction in measurement locations. Depending on the spatial frequency of the hologram, a measurement location reduction of 20–80% was observed.

Food relates to the experience of life, survival, and memory. It impacts us every day, whether we have plenty of it or not. It influences our memories and connects us to one another, while structuring details of our identities and cultures. As a creative writer and English major, I recognize that food influences a story to accentuate literary concepts and unveil them, such as a character’s compassion or the poison that a villain uses to unfold the plot. The best example of food as an impactful device within a story is The Hunger Games by Suzanne Collins. From the first chapter onward, Collins grants food deeper relevance in her book’s themes, the characters’ lives, and the world of Panem. Food studies explore the impact of food on societies and the world, which underly the concept of food as a device in the Hunger Games. For this thesis, I will explain specific utilizations of food as a literary device in the Hunger Games as it functions in world building, characterization, and plot momentum.

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Abstract: Modern readers frequently perceive female characters in Victorian novels as insipid and inane, blaming the static portrayals on the angel in the house stereotype attributed to Coventry Patmore's poem of the same name. The stereotype does not accurately reflect the actual Victorian woman's life, however. Examining how the stereotype evolved and how the middle-class Mid-Victorian woman really lived provides insight into literary devices authors employed either to reinforce the angel ideal or to reconcile the ideal with the real. Wilkie Collins's portrayal of Marian Halcombe in The Woman in White features a dynamic female who has both androgynous characteristics and angel-in-the-house qualities, exemplifying one more paradox in a society riddled with contradictions.

New Zealand-born architect Joseph Fearis Munnings (1879-1937) is largely forgotten in the country of his birth. Considering the importance of his public works in Bihar and Orissa, India (1912-1919) and his prominence as a school architect in New South Wales, Australia (1923-1937), recognition of his architectural achievements is long overdue. This thesis takes as its premise the notion that early twentieth century architecture in colonial New Zealand, India and Australia was British, the rationale expounded by G. A. Bremner in Imperial Gothic– Religious Architecture and High Anglican Culture in the British Empire (2013). My thesis argues that, considering Munnings’ colonial upbringing and English training, the styles he employed reflected his and his clients’ identity as British. It explores the extent to which Munnings adapted British styles, by incorporating features appropriate for colonial conditions. Drawing upon the work of Ian Lochhead on the achievements of Samuel Hurst Seager, my thesis considers the role played by Seager in mentoring Munnings and guiding his philosophy of architecture. Peter Scriver’s papers, ‘Edge of empire or edge of Asia’ (2009) and ‘Complicity and Contradiction in the Office of the Consulting Architect to the Government of India, 1903-1921’ (1996), also inform my analysis of Munnings’ work in India. To enable an analysis of Munnings’ work, this study divides his career into chronological stages: Early experiences and training, Christchurch, New Zealand, 1879-1903 Architectural training, London, England, 1903-1906 Partnership with Hurst Seager and Cecil Wood, Christchurch, 1906-1909 Work with Leonard Stokes, London, 1909 Responsibilities and achievements, India, 1910-1918 Contributions and achievements, New Zealand, 1919-1923 Partnership with Power and Adam, Sydney, Australia, 1923-1937. This thesis, the first comprehensive study of Munnings’ career, illuminates the extent of his architectural legacy in India, his significant contribution to school architecture in New South Wales, and asserts his place as an architect of the British Empire.

The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Bystr​öm​, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as ​Vogue, Harper's Bazaar, i-D, Dazed, and ​Vice​. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.