This paper seeks to examine the ancient Kemetic science known today as astrology and discern its usefulness in benefiting people of African descent in the contemporary era. Based upon documented historical evidence, research material, and theorization apprehended from an Afrocentric standpoint the author is attempting to succinctly present a body of scientific knowledge that can develop and advance the idea of astrology as a wholistic human endeavor conceived in ancient Africa which can be and has been useful to Africa and her people. Astrology has helped humanity to make sense of life, nature, seasons, movements of times, powers and is included within the discipline of astronomy, one the seven liberal arts, including, grammar, rhetoric, philosophy, logic, geometry, mathematics and the arts. These ancient disciplines are a necessary part of each other and are studied holistically, even today. However, Europeanization has created a problem in translating these ancient African ideas, castigating its intrinsic feminine elements, separating its mythological aspects from its astronomical parts, and despiritualizing the science. Using Cheikh Anta Diop’s Two Cradle Theory, that cultures distinguish humans and behavior, it will be argued that cultural orientation is a fundamental reason why Europeans have struggled from antiquity to the present to understand astrology, a science birthed from African culture. Moreover, it is argued that owing to the deep structure of culture, people of African descent can study ancient African episteme to awaken cultural memory to understand values and beliefs and potentially (re)turn (Sankofa) to the past and comprehend and appreciate a science culturally grounded in African episteme. Ultimately, it is hoped that in this translation of astrology, which embraces the significance of Ma’at in all life and existence, it is possible through viewing astrology in its ancient light, to restore Ma’at or balance, harmony, order, righteousness, and truth in the lives of people of African descent. The ultimate goal would be to foster peace, Ma’at among humanity. / African American Studies

This thesis is an unbiased attempt to look a Senator Albert Jeremiah Beveridge, a man who made history in his own time in his own way. Moreover, this thesis attempt to objectively present Senator Beveridge in the context of the era in which he lived as a generating force in America's colonial adventure at the turn of the century. Senator Albert J. Beveridge, a Hamiltonian nationalist by inheritance, believed in a strong central government. Furthermore, he believed that the end of government should be the gaining of power and material forces, redeeming the redeemable nations of the world and subjugating the inferior races under American law and American institutions, religious, political, social and economic. Reviving the spirit of manifest destiny at the close of the last century, after it had waned during the Civil War era, Albert Beveridge and other expansionists plunged deeply into the fight to build an American colonial empire.

<p>This is a paper about the process of creating meaning in speeches held by president Bush after the terrorist attacks on September 11th 2001. People need tools to orient and understand the surrounding world. They need to create a meaningful orientation in a chaotic world. Some meaning is favoured due to the prevailing social structures. Thru language discourses are produced that helps us understand how the world is constructed. The national state is a discourse that make the world understandable. The discourse create a natural perception of the world as divided into nations. A grand narrative is a story that explain incomprehensive occurrences in society. In times of war these stories become crucial. It is necessary to demonise the enemy to legitimise ones actions. </p><p>In the US a myth of origin is built around the concept of Manifest Destiny. The myth constitutes that the nation has a unique mission from God to save the rest of the world. In the story retelling the events of September 11th president Bush presents a solution to the problem of terrorists threatening to divide the nation. The nation is constantly on the brink of falling apart. The solution is unity. President Bush recreate the story of USA and the terrorist attacks in a meaningful way, and portrays the nation as a natural entity. The enemy is the evil force that unites the nation.</p>

Η μεταπτυχιακή διατριβή αναφέρεται στις ποικίλες εκφάνσεις του θεϊκού νόμου στην Αντιγόνη και στον Οιδίποδα Τύραννο του Σοφοκλή. Στα συγκεκριμένα έργα η θεολογική διάσταση συνιστά μια αυτοτελή οπτική, είτε αυτή ενυλώνεται έμμεσα, μέσω των χρησμών και των οιωνών και της εκπλήρωσής τους είτε άμεσα μέσω των υπέρλογων δυνάμεων της άτης και της τύχης. / Diploma thesis refers to the variety of facets of divine law in Antigone and Oedipus Tyrannus of Sophocles. In these specific dramas, theological dimension can be an independent view either exists indirectly via oracles and omens either directly via irrational - supernatural powers of ate and destiny.

Orientador: Fernando Brandão dos Santos / Banca: Anise de Abreu Gonçalves D'Orange Ferreira / Banca: Marisa Giannecchini Gonçalves de Souza / Resumo: Este trabalho analisa a relação entre o humano e o divino no âmbito das ações realizadas pelos homens e a responsabilidade que eles teriam ou não sobre elas, na Ilíada. Para tanto, verifica a concepção de homem em Homero, buscando mostrar o homem como unidade capaz de realizar ações e analisa a concepção divina associada às ideias de vontade de Zeus e de Destino, que afetariam a noção de responsabilidade na ação humana. Portanto, desejamos mostrar que as decisões próprias do homem não alteram o curso dos acontecimentos, uma vez que, na Ilíada, deparamos com a mentalidade mítica na qual divindade e homem se completam através de oposições / Abstract: This study analyzes the relationship between the human and the divine in the context of the actions carried out by men, and the responsibility that they would have on them or not, in the Iliad. To do so, it verifies the conception of man in Homer, trying to show the man as a unit capable of performing actions and analyzes the divine conception associated with the ideas of will of Zeus and Destiny, which would affect the notion of responsibility in the human action. Therefore, we wish to show that the man's own decisions do not change the sequences of events, once, in the Iliad, we faced with the mythical mentality in which divinity and man complete each other through opposition / Mestre

En quoi la création et l'(auto-)destruction peuvent-elles agir dans un même processus ? Comment un cinéaste, auteur de seulement cinq flms, a-t-il réussi à imposer sa vision esthétique et narrative du cinéma ? Mettant en perspective la vie et l'œuvre de Robert Louis Fosse, dit Bob Fosse, ce travail pose la question du lien qui se crée entre la création et l'(auto-)destruction dans le cinéma fossien. Cette création trouve ses origines dans une forme classique de cinéma et dans l'utilisation de thématiques "populaires". L'(auto-)destruction, quant à elle, offre la nouveauté : elle permet de toujours recréer et de ré-construire. Il se dégage alors une dynamique qui conduit au constat que les deux concepts, la création et l'(auto-)destruction, ont toujours co-existé dans le travail de Bob Fosse. S'opposant à l'idée des esthéticiens spécialisés dans l'étude d'œuvres picturales et cinématographiques, ce travail assume son caractère psychobiographique. Ce procédé apparaît comme le seul, juste et efficace, permettant de mener à bien l'étude de cet artiste qui pensait que vie et spectacle ne faisaient qu'un. / How can creation and (self-)destruction act in a same creative process ? How could a flm director, who made only fve flms, manage to impose his aesthetic and narrative vision of cinema ? Putting into perspective the life and work of Robert Louis Fosse, also named Bob Fosse, this work asks the question about the link that is established between creation and (self-)destruction in Fosse's cinema. Creation fnds its roots in a classical form of movie-making and the use of "popular" themes. (self-)destruction offers novelty : it enables to always re-create and re-construct. Emerges then a dynamic process that leads to establish the fact that both concepts, creation and (self-)destruction, have always co-existed in the work of Bob Fosse. In contrast to critics specialized in the study of pictorial and cinematographic works, this study accepts its psychobiographical character. This way of doing appears as the only just and effcient way of dealing with the study of an artist who thought that life and show made only one.

This is a study of Charles Dickens David Copperfield and Herman Melville Moby Dick from a Marxist perspective, exploring the different manifestations of the capitalist system, with critical reference to the theories of Raymond Williams and Terry Eagleton. It will attempt to understand cultural differences, values and moral codes, that the two novels reveal about Victorian England and Antebellum America, at this point in literary history, the decade of time with 1850 at its centre. The thesis will explore how the cultural legacy and ambitions of each nation is represented in each of the novels. By comparing the central themes of each work, the study will attempt to illustrate how capitalism is expressed specifically in each nation.

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Les discours tenus aujourd’hui sur Georges Darien restent, pour une large part, associés à l’anarchisme. Pour en saisir les limites, la thèse remonte aux sources biographiques. La lecture de son œuvre− aussi riche que méconnue− prendra acte d’un moment fondateur : l’expérience des camps disciplinaires, en 1883. A partir de là, les fictions s’inscrivent dans une démarche contestataire. Le destin littéraire devient spéculaire, véritable miroir d’une âme entrée en résistance. Tenant à la fois de Balzac, Vallès ou encore Mirbeau, l’écrivain dénonce et engage sa responsabilité d’auteur. Combinant avec originalité des personnages et des situations, Darien revisite les problématiques de son époque : rapport à la bourgeoisie, à l’argent, aux institutions, à l’individu. A ce titre, sa littérature est un vaste territoire à explorer. Les pratiques d’écriture et les stéréotypies particulières de la « fin de siècle » font l’objet d’une analyse très critique. L’homme de lettres écrit sa contestation sous toutes les formes : roman, poésie, théâtre, pamphlet, journal, discours. Enfant perdu de la bourgeoisie, livré à la Grande Muette, assiégé par des visions cauchemardesques ; Darien a de quoi nourrir sa résistance scripturaire. Rien ne manquera à la parole libertaire qu’il exerce. Bagnes et armées connaîtront une satire des plus violentes. Famille et instances tutélaires délivreront des idéologies souvent ridicules. Nations et littérateurs donneront l’occasion de discuter la place de l’artiste et de forger un individualisme féroce. Sous le couvert de récits détonants, l’écrivain donne ainsi à voir matière, mais aussi manière. Surenchère, image, caricature, raisonnement par l’absurde, fondent une esthétique originale. La fiction ne fait jamais allégeance à un système de pensée, quel qu’il soit. Le continent littéraire sur lequel nous posons notre regard impose de revoir nos certitudes. Aller à la rencontre de Darien, c’est repenser la question de l’adhésion à l’anarchisme, au naturalisme ou encore au symbolisme. La littérature devient le laboratoire d’une pensée qui n’est jamais partisane, mais toujours soucieuse de décrypter. La démarche comparatiste comme la sociologie permettent d’engager ce décryptage. Finalement, lire ou relire Darien, c’est passer du singulier d’un destin littéraire au pluriel de nos destinées. Le texte retrouve son étymologie de « textus », ce fil qui se fait et défait au gré des écritures et des heurts de l’Histoire collective comme personnelle. / The speeches today Georges Darien remain largely associated with anarchism. To grasp the limits, the thesis goes back to biographical sources. Reading his œuvre− as rich as méconnue− take note of a founding moment: the experience of disciplinary camps, in 1883. From there, fictions are part of a protest action. The literary destiny becomes specular true reflection of a resistor input soul.Holding both Balzac Vallès or Mirbeau, the writer denounces and engages its copyright liability. Combining with original characters and situations, Darien revisits the issues of his time compared to the bourgeoisie, to money, to institutions, to the individual. As such, its literature is a vast territory to explore. Writing practices and specific stereotypes of the “end of century” are the subject of a highly critical analysis. The man of letters wrote his challenge in all forms: novel, poetry, theater, pamphlet, newspaper, speech. Lost child of the bourgeoisie, comes to the Great Muette, besieged by nightmarish visions; Darien has enough to feed his scriptural resistance. Nothing missed libertarian speech he exercises. Bagnes and armies will experience more violent satire. Family and guardianship bodies shall issue often ridiculous ideologies. Nations and writers will provide an opportunity to discuss the place of the artist and forge a fierce individualism. Under the cover of detonating stories, the writer gives to see and matter but also fashion. Increment, picture, cartoon, reductio ad absurdum, founded an original aesthetic. Fiction never pledged allegiance to a system of thought, whatever it is. The literary continent on which we lay our eyes means reviewing our certainties. Go to the meeting of Darien, is rethinking the issue of accession to anarchism, naturalism or symbolism. Literature becomes the laboratory of a thought that is never partisan, anxious to decrypt. The comparative approach such as sociology allow it to engage decryption. Finally, read or reread Darien is spend a singular literary destiny plural of our destinies. The text finds its etymology of “textus” this thread is done and undone at the discretion of the scriptures and clashes of collective history as personal.

Ce projet de thèse, choisi en vue de l’obtention du doctorat des littératures française, francophones et comparée, consiste en une démarche littéraire comparatiste, axée sur dix romans rattachés, en théorie, au genre historique, et traitant tous de l’Antiquité. Le corpus des œuvres, établi sur une période recouvrant les XIXe et XXe siècles, comprend quatre romans français : Les Martyrs de Chateaubriand (1809), Le Roman de la momie de Théophile Gautier (1858), Salammbô de Gustave Flaubert (1862), Mémoires d’Hadrien de Marguerite Yourcenar (1951) ; et six romans étrangers : The Last Days of Pompeii d’Edward G. Bulwer-Lytton (1834), Quo vadis ? de Henryk Sienkiewicz (1895), Siddhartha. Eine Indische Dichtung de Hermann Hesse (1922), Der Tod des Vergil de Hermann Broch (1945), Aztec de Gary Jennings (1980) et Creation de Gore Vidal (1981). Cet échantillonnage représentatif du genre archéo-fictif tient compte principalement de la notoriété des romans historiques, de leur diversité géographique et culturelle, et de leur adhérence au sujet de thèse. En effet, chaque roman s’apparente à une tentative remarquable de reconstitution « archéologico-littéraire » d’une civilisation antique anéantie par l’érosion du temps : l’Egypte ancienne, Carthage, Rome, Pompéi, la Grèce, la Perse, l’Inde, le Cathay (la Chine antique) et l’empire aztèque. « Les destinées et les croyances religieuses » constituent le sujet unificateur qui relie ces romans à leur contexte littéraire. Le problème générique du roman historique ; le substrat religieux dans l’anastylose archéofictive ; la transfiguration religieuse des lieux et du langage dessinent les principales orientations littéraires de la thèse. / This Ph.D thesis, chosen for the doctoral degree of French, French-speaking and comparative literatures, consists in a comparative literary approach, axed on ten historical novels, theoretically attached to the historical genre, and dealing all with antiquity. The corpus of works, established on a period covering the 19th and the 20th centuries, includes four French novels: Les Martyrs by François-René de Chateaubriand (1809), Le Roman de la momie by Théophile Gautier (1858), Salammbô by Gustave Flaubert (1862), Mémoires d’Hadrien by Marguerite Yourcenar (1951); and six foreign novels: The Last Days of Pompeii by Edward G. Bulwer-Lytton (1834), Quo vadis ? by Henryk Sienkiewicz (1895), Siddhartha by Hermann Hesse (1922), Der Tod des Vergil by Hermann Broch (1945), Aztec by Gary Jennings (1980) and Creation by Gore Vidal (1981). This representative selection of samples from the archaeo-fictive genre takes mainly into account the notoriety of the historical novels, their geographical and cultural diversity, and their adhesion to the subject of the thesis. Indeed, each novel is akin to a remarkable « archaeologico-literary » recovery’s attempt of an ancient civilization annihilated by the erosion of time: the Ancient Egypt, Carthage, Rome, Pompeii, Greece, Persia, India, Cathay (Ancient China) and the Aztec empire. The generic problem of the historical novel; the religious substratum in the archaeofictive anastylosis; the transfiguration of the landscape and the language draw the main literary and thematic lines of the thesis.