The nonfiction collection of essays is about childhood and nostalgia, and how all the experiences as a kid make them into whom they will be.

Les représentations des divinités féminines hindoues mises au jour au Bengale, stèles et statues de pierre ou de métal, ont été analysées à partir d'un corpus d'un peu plus de trois cents œuvres que nous avons collectées dans les musées indiens, bangladais et occidentaux, mais aussi dans les catalogues, études et publications diverses. L'étude iconographique sera faite par une mise en perspective des images, de l'épigraphie, de la littérature et des concepts théologiques exprimés dans les textes sacrés. La première partie de cette recherche est une étude chronologique consacrée (1) à l'étude des plaques de terre cuite produites au Bengale entre le IIIᵉ siècle av. notre ère et le IIᵉ après qui représentent divers personnages féminins portant déjà pour certains les caractéristiques iconographiques de la divinité telles qu'on les trouvera sur les images ultérieures, et (2) à l'apparition et au développement de la parèdre de Śiva dans son rôle d'épouse : à partir du IXᵉ siècle et jusqu'au XIIᵉ siècle, c'est en effet la Déesse, śakti du dieu, qui est omniprésente. Les déesses viṣṇuites n'occupent qu'une infime partie du corpus. Dans la deuxième partie, ce sont les formes redoutables de la Déesse śivaïte, Durgā siṃhavāhinī, Mahiṣāsuramardinī et Cāmuṇḍā/Kālī qui sont analysées. Les déesses serpents gardent leur spécificité malgré leur intégration dans le panthéon śivaïte. L'étude stylistique des images permet d'identifier le développement des différentes écoles de la région avec, à partir des XIᵉ et XIIᵉ siècles, une différence notable entre les stèles à la décoration foisonnante du nord-ouest du Bengale et celles dépouillées et empreintes de spiritualité de la région de Dhaka devenue le centre du pouvoir sous les Sena. Cette étude iconographique permet de constater que de la bhakti apparue à l'époque des Épopées, aux cultes tantriques ésotériques les plus transgressifs, le Bengale médiéval a beaucoup développé les cultes śākta en l'honneur de la Déesse Suprême rattachée au panthéon śivaïte : les courants orthodoxes, kaula et Trika non dualistes, et peut-être Nātha ont pu être identifiés. Mais quelle que soit la voie choisie, le but de l'adepte reste le même, la libération, mokṣa, et la fusion avec la Déesse Suprême. / The production in Bengal of stone stelae and stone and metal statues representing Hindu Goddesses, dated from prehistory up to the twelfth century was assembled in a collection of more than three hundred pieces from the museums in India, Bangladesh and Western countries, from catalogues and from other scholar research publications. The purpose of this doctoral dissertation is the analysis of the collection.The first part of this research is a chronological approach. Between the third century B.C. and the second century A.D., there was an important production of terracotta plaques with feminine figurines but it is difficult to say whether they were modeled for decoration or for cult purposes. Later, other than some beautiful terracotta statues representing Mahiṣāsuramardinī and snake goddesses dated around the fifth century, there is a paucity of images until the eighth century. The pieces dating from the ninth up to the twelfth century in the collection are quite all images of the Goddess, Śiva's śakti and wife, and the stelae are quite all narratives and dedicated to orthodox cults.The second part of the research is a more detailed analysis of the fearsome forms of the Goddess: Durgā siṃhavāhinī, Mahiṣāsuramardinī, Cāmuṇḍā; the snake goddesses, although being incorporated within the Śaiva pantheon, keep a specific role.Stylistic elements facilitate the identification of several schools of sculpture, with, by the eleventh and twelfth centuries, a substantial difference between the abundance of decorative elements on the stelae from North-West of Bengal and the bare style of those conceived in the area of Dhaka.From a religious point of view, an evolution from the narrative to the esoteric tantric images shows different types of beliefs and śākta cults: orthodox, non dualist kaula and Trika, and may be Nātha, being understood that whichever way is chosen, the goal remains the same: mokṣa and merge within the Supreme Goddess.

Lʼobjectif de cette étude est de saisir le but dʼun discours hagiographique, en fondant lʼanalyse sur la tradition, lʼauteur, le style et le public de certains textes de l'Antiquité tardive. Les auteurs de ces textes, écrits en prose grecque et illustrés par lʼÉloge de Saint Anastase de Georges de Pisidie, suivaient les préceptes de la rhétorique et réélaboraient les canons de la littérature hagiographique. La thèse est divisée en cinq chapitres. Le premier trace une histoire de la réécriture et montre lʼévolution de la technique paraphrastique entre le sixième et le septième siècle après J.-C. Lʼanalyse se prolonge jusqu'aux soixante-dix Miracles de Cyr et Jean par Sophrone de Jérusalem et à lʼÉloge de Saint Anastase par Georges de Pisidie, une métaphrase des actes du martyre, dont le but était de propager les victoires de lʼEmpire chrétien contre la Perse. Dès le deuxième chapitre, lʼattention se concentre uniquement sur lʼÉloge, dont une première traduction italienne est proposée. Le troisième chapitre traite de la diffusion du culte de Saint Anastase après son martyre, advenu le 22 janvier 628 après J.-C. Le quatrième chapitre se focalise sur la technique utilisée par Georges pour réécrire les actes du martyre de Saint Anastase. Le dernier chapitre analyse la structure de lʼÉloge, en essayant de montrer les points où la prose de Georges suit les préceptes de la rhétorique ancienne tardive. Ce travail espère ainsi souligner lʼimportance de lʼÉloge dans la production panégyrique de Georges, dans le contexte de lʼhistoire littéraire du septième siècle après J.-C. et, plus généralement, de lʼAntiquité tardive. / The aim of the thesis is to understand the purpose of an hagiographic discourse, basing the analysis on the tradition, the author, the style and the public of certain texts. These texts (exemplified by the Encomium of Saint Anastasius by George of Pisidia) were written in Greek prose during the period of Late Antiquity and Early Byzantium. Their authors increasingly tended to follow the precepts of rhetoric and to rework the canons of hagiographic literature. The thesis is divided into five chapters. The first traces the history of rewriting and shows the evolution of the paraphrastic technique between the sixth and seventh centuries AD. The analysis extends up to the seventy Miracles of Cyrus and John by Sophronius of Jerusalem and to the Encomium of Saint Anastasius by George of Pisidia, a metaphrase of the acts of martyrdom, whose aim was to propagate the victories of the Christian Empire against Persia. From the second chapter, the attention is focused only on the Encomium, of which is offered a first Italian translation. The third chapter is a discussion on the spread of the cult of Saint Anastasius, after his martyrdom on January 22, 628 AD. The fourth chapter focuses on the technique used by George to rewrite the acts of the martyrdom of Saint Anastasius. The last chapter analyzes the structure of the Encomium, trying to highlight the points where the prose of George seems to follow more closely the dictates of late antique rhetoric. It is hoped with this to emphasize the importance of a text as the Encomium, within the panegyric production of George of Pisidia, but also the literary history of the seventh century AD and, more generally, of Late Antiquity.

Foram identificadas diversas ambigüidades e contradições acerca do significado semântico, e da identificação de imagens tidas como de \"felinos\", no trabalho de diversos pesquisadores da área andina. Essas contradições são constantemente acompanhadas por uma idéia de que as representações de felinos teriam um conjunto de significados comuns, presentes praticamente em todas as culturas pré-colombianas, desde o período pré-formativo. Este trabalho procura questionar essa idéia, demonstrando, através da sociedade mochica, que as representações de felinos que figuram em suas manifestações artístico-religiosas não correspondem a esta idéia de universalidade. Da mesma forma, são discutidas as contradições presentes na bibliografia, a fim de elucidar a condição do felino dentro do âmbito da cultura analisada. Será dada especial atenção ao fato de que, de forma geral, há uma identificação imediata de imagens de \"mamíferos com presas à mostra\", como sendo de felinos. / Several ambiguities and contradictions in relation to the meaning and the identification of images held as \"felines\" have been identified in the works of many researches specialized in the Andean Pre-Columbian cultures. Such contradictions are constantly followed by the concept that all feline representations would carry the same symbolic meanings, regardless of the cultural differences or of the context in which they would be inserted in. This present work challenges this idea by demonstrating, through the analysis of the iconography produced by the mochica culture, that its feline representations do not correspond to such generalizations. An attempt is also made to elucidate the condition of the image of the feline in realm of the culture here analyzed. Special attention will be given to the fact that usually images of other mammals that carry the symbol of the \"cross-fangs\" are mistakenly identified as felines.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-24T09:36:25Z No. of bitstreams: 1 Ricardo Assarice dos Santos.pdf: 1434727 bytes, checksum: 4730a0dedbbf9e1d836fe58c3addb6cd (MD5) / Made available in DSpace on 2018-01-24T09:36:25Z (GMT). No. of bitstreams: 1 Ricardo Assarice dos Santos.pdf: 1434727 bytes, checksum: 4730a0dedbbf9e1d836fe58c3addb6cd (MD5) Previous issue date: 2017-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / Created in 1945 in Rio Branco (AC) by Daniel Pereira de Mattos (1888-1958), the Barquinha is a highly complex and little studied religious movement that is influenced by black, white and amerindian religious matrices. Through the drinking of the Daime (ayahuasca), rituals of mediumistic trance, intense Christian devotion, altruistic ideals, and an ample marine and esoteric imagery, this ayahuasca line flourished in several ramifications after the death of its founder and, although discreet, has been gaining adherents of diverse brazilian localities and social contexts. The main objective of this work was to identify and present the history; the main religious influences and the fundamental rituals of the Barquinha line. In addition, the dissertation sought to point out and expand the main concepts used by the researchers of this religious movement, in order to foster some reflections previously presented by them. For this, a systematic bibliographical survey was carried out on the Barquinha literature, which contents had been analyzed and organized in four chapters, in the light of the concepts like symbolic anthropology, from Clifford Geertz, and cultural hybridism, from Peter Burke. In addition to updating the literature on the timeline of this religious movement and identifying its main rituals and religious influences, it was possible to recognize that most of the authors who study Barquinha use the concepts of syncretism and eclecticism to define this religious movement. It was possible to note that most of the authors emphasize the use of ayahuasca in their reviews, not reliably highlighting the influence of esotericism on the symbolic constitution of this religious movement. Finally, through the concept of cultural hybridization, it was possible to broaden the understanding of the constituent processes of this religious movement / Criada em 1945 em Rio Branco (AC) por Daniel Pereira de Mattos (1888-1958), a Barquinha é um movimento religioso altamente complexo e pouco estudado que tem influência de matrizes religiosas negras, brancas e ameríndias. Através da beberagem do Daime (ayahuasca), rituais de transe mediúnico, intensa devoção cristã, ideais altruístas, e um amplo imaginário marinho e esotérico, esta linha ayahuasqueira floresceu em diversas ramificações após a morte de seu fundador e, apesar de discreta, vem ganhando adeptos de diversas localidades brasileiras e contextos sociais. O principal objetivo deste trabalho foi identificar e apresentar a história, as principais influências religiosas e os rituais fundamentais da linha da Barquinha. Complementarmente, a dissertação buscou apontar e ampliar os principais conceitos utilizados pelos pesquisadores deste movimento religioso, a fim de fomentar algumas reflexões apresentadas previamente pelos mesmos. Para tal, foi realizado um levantamento bibliográfico sistemático acerca da literatura da Barquinha, cujo conteúdo fora analisado e organizado em quatro capítulos, à luz dos conceitos de antropologia simbólica, de Clifford Geertz, e do hibridismo cultural de Peter Burke. Além de atualizar a literatura acerca da linha do tempo deste movimento religioso e identificar seus principais rituais e influências religiosas, foi possível reconhecer que a maioria dos autores que estudam a Barquinha utilizam os conceitos de sincretismo e ecletismo para definir este movimento religioso. Foi possível notar que a maioria dos autores enfatiza o uso da ayahuasca em suas análises, não destacando, de maneira fidedigna, a influência do esoterismo na constituição simbólica deste movimento religioso. Por fim, através do conceito de hibridização cultural, foi possível ampliar a compreensão dos processos constituintes deste movimento religioso

Thesis (D. Min.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 286-290).

Thesis (Ph. D.)--Catholic University of America, 1938. / Bibliography: p. 199-214.

Thesis--Stockholm. / Extra t.p., with thesis statement, inserted. Summary in English. Bibliography: p. 286-289.

Thesis (D. Min.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 286-290).

Submitted by Adriana de Bortoli null (adrianadebortoli1@hotmail.com) on 2016-05-23T17:22:45Z No. of bitstreams: 1 tese versão biblioteca.pdf: 6690701 bytes, checksum: 545cdbaee960d6f1fca1af44dbf28325 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-05-25T17:42:08Z (GMT) No. of bitstreams: 1 bortoli_a_dr_rcla.pdf: 6690701 bytes, checksum: 545cdbaee960d6f1fca1af44dbf28325 (MD5) / Made available in DSpace on 2016-05-25T17:42:08Z (GMT). No. of bitstreams: 1 bortoli_a_dr_rcla.pdf: 6690701 bytes, checksum: 545cdbaee960d6f1fca1af44dbf28325 (MD5) Previous issue date: 2016-05-02 / Analisar as obras de André Perez y Marin com o intuito de entender tendências e propostas de ensino que possam ter deixado contribuições para a Educação Matemática, é o principal objetivo deste trabalho. A investigação tem como fonte de pesquisa os livros didáticos do referido autor, principalmente, e, decretos, portarias e leis normalizadores do ensino brasileiro, pois são documentos que relatam as modificações no ensino de Matemática ao longo de algumas décadas. A pergunta diretriz desta pesquisa é: “Quais propostas didático-metodológicas de ensino de Matemática estão presentes nas obras de André Perez y Marin?”. Com o intuito de responder tal questão, este estudo fez uso do ferramental teórico-metodológico, vindo da história cultural e valeu-se das buscas pelas estratégias editoriais e políticas de vendagem das obras do referido autor e da metodologia de organização do conhecimento. Pode-se afirmar que André Perez y Marin, em seus livros, apresentou alguns conceitos matemáticos que não estavam nos programas de ensino vigentes à época, como o conceito de funções, que inclusive não era um assunto comumente presente nos livros didáticos do período. Além disso, o autor introduziu alguns elementos do cálculo, mesmo sem ter sido recomendado nos programas oficiais, uma vez que, o Cálculo Diferencial e Integral havia sido excluído dos programas do ensino secundário, desde a reforma Benjamim Constant, ocorrida em 1890; sendo, novamente, proposto apenas em 1929. Concluímos quanto à proposta didático-metodológica, que o autor fez uso, principalmente, do método analítico, nas obras Elementos de Algebra e Aritmética Teorico-Prática, e do método sintético na obra Elementos de Geometria. / Analyzing the works of André Marin Perez y Marin in order to understand trends and educational proposals that could have leaved contribution to mathematics education is the main objective of this work. The investigation is a research source of that author's didactic books, mainly and, decrees, orders and standard-setting laws of Brazilian education which are documents that record the changes in mathematics education over several decades. The problem of this research is: "What didactic and methodological proposals mathematics teaching are present in the works of André Perez y Marin Perez? ". In order to answer this question, this study made use of theoretical and methodological tools from the cultural history and took advantage of the search for the editorial strategies and policies-selling works of that author and organization methodology of knowledge. Can be said that Andrew Perez y Marin, in his books, presented some mathematical concepts that were not in the current education programs in effect at the time, such as the concept of function, which also was not a commonly subject in the textbooks of the period. In addition, the author introduced some elements of the calculation, even without having been recommended in official programs, since the Differential and Integral Calculus had been excluded from secondary school programs, from Benjamin Constant reform , which took place in 1890 ; It is again proposed in 1929 only . We conclude about the didactic and methodological proposal, which the author made use mainly of the analytical method in the works Algebra Elements and Arithmetic Theory and Practice, and the synthetic method in the Elements of Geometry work.