Thesis (M.S.)--University of Wisconsin--Madison. / Typescript. Title from title screen (viewed Mar. 21, 2007). Includes bibliographical references (leaves 97-101). Online version of the print original.

Thesis (M.S.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 97-101).

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Comment le motif de la marque insensible du diable a-t-il pu se frayer un chemin au sein du discours théologique, juridique et médical de la fin de la Renaissance jusqu'à s'imposer comme une pièce essentielle du crime de sorcellerie? Selon quels mécanismes et à partir de quels systèmes de croyance cette marque corporelle en est-elle venue à connaître une si large diffusion et une aussi grande acceptation tant chez les gens du livres que parmi les couches populaires? En cette époque marquée par la grande chasse aux sorcières et le développement de l'investigation scientifique, l'intérêt que les savants portent à cette étrange sémiologie constitue une porte d'accès privilégiée pour aborder de front la dynamique du déplacement des frontières que la démonologie met en oeuvre au sein des différents champs du savoir. Cette thèse a pour objectif d'étudier le réseau des mutations épistémologiques qui conditionne l'émergence de la marque du diable dans le savoir démonologique français à la charnière des XVIe et XVIIe siècles. Nous examinerons par quels cheminements l'altérité diabolique s'est peu à peu intériorisée dans le corps et l'âme des individus sous l'influence grandissante des vertus de l'empirisme, de la méthode expérimentale et de l'observation. En analysant la construction rhétorique de la théorie des marques du diable et en la reliant aux changements qui s'opèrent sur la plateforme intellectuelle de l'Ancien Régime, nous entendons éclairer la nouvelle distribution qui s'effectue entre les faits naturels et surnaturels ainsi que les modalités d'écriture pour en rendre compte. / How did the motive of the Devil's Mark wend its way through the theological, legal and medical discourse at the end of the Renaissance to such a point that it became a critical component of the crime of witchcraft? Through what mechanisms and what belief systems did this idea of the Devil's Mark become so widely disseminated and greatly accepted among both the scholars and the general public? In a period marked by the Great Witch Hunt, as well as the development of scientific investigation, the fact that the scholars are interested in this strange semiotics is a very interesting starting point to address head-on the shift in boundaries that demonology brought about within these different fields of knowledge. The purpose of this thesis is to study the network of the epistemological mutations that shaped how the Devil's Mark emerged in French demonological knowledge between the end of the 16th century and the beginning of the 17th century. We will review how diabolical otherness gradually became internalized in the individuals' heart and soul under the increasingly powerful influence of empiricism, experimental method, and observation. We will analyze the rhetorical construction surrounding the Devil's Mark theory and relate it to the changes that took place in the intellectual platform of the Ancien Régime in order to shed light on the new classification that appeared between natural and supernatural facts, as well as on the rhetorical strategies used to report on them.

Comment le motif de la marque insensible du diable a-t-il pu se frayer un chemin au sein du discours théologique, juridique et médical de la fin de la Renaissance jusqu'à s'imposer comme une pièce essentielle du crime de sorcellerie? Selon quels mécanismes et à partir de quels systèmes de croyance cette marque corporelle en est-elle venue à connaître une si large diffusion et une aussi grande acceptation tant chez les gens du livres que parmi les couches populaires? En cette époque marquée par la grande chasse aux sorcières et le développement de l'investigation scientifique, l'intérêt que les savants portent à cette étrange sémiologie constitue une porte d'accès privilégiée pour aborder de front la dynamique du déplacement des frontières que la démonologie met en oeuvre au sein des différents champs du savoir. Cette thèse a pour objectif d'étudier le réseau des mutations épistémologiques qui conditionne l'émergence de la marque du diable dans le savoir démonologique français à la charnière des XVIe et XVIIe siècles. Nous examinerons par quels cheminements l'altérité diabolique s'est peu à peu intériorisée dans le corps et l'âme des individus sous l'influence grandissante des vertus de l'empirisme, de la méthode expérimentale et de l'observation. En analysant la construction rhétorique de la théorie des marques du diable et en la reliant aux changements qui s'opèrent sur la plateforme intellectuelle de l'Ancien Régime, nous entendons éclairer la nouvelle distribution qui s'effectue entre les faits naturels et surnaturels ainsi que les modalités d'écriture pour en rendre compte. / How did the motive of the Devil's Mark wend its way through the theological, legal and medical discourse at the end of the Renaissance to such a point that it became a critical component of the crime of witchcraft? Through what mechanisms and what belief systems did this idea of the Devil's Mark become so widely disseminated and greatly accepted among both the scholars and the general public? In a period marked by the Great Witch Hunt, as well as the development of scientific investigation, the fact that the scholars are interested in this strange semiotics is a very interesting starting point to address head-on the shift in boundaries that demonology brought about within these different fields of knowledge. The purpose of this thesis is to study the network of the epistemological mutations that shaped how the Devil's Mark emerged in French demonological knowledge between the end of the 16th century and the beginning of the 17th century. We will review how diabolical otherness gradually became internalized in the individuals' heart and soul under the increasingly powerful influence of empiricism, experimental method, and observation. We will analyze the rhetorical construction surrounding the Devil's Mark theory and relate it to the changes that took place in the intellectual platform of the Ancien Régime in order to shed light on the new classification that appeared between natural and supernatural facts, as well as on the rhetorical strategies used to report on them.

Does Yahweh exist? What is the ontological status of Yahweh-as-depicted in the Old Testament texts? Is the deity merely a character of fiction or does He also exist in extra-textual reality? According to the viewpoint of the devil’s advocate whose perspective on the issue is articulated in this thesis, the answer to the question is simply, no – Yahweh does not exist. He may seem real to those who believe in him and in the world of the text but he has no extra-textual and extra-psychical counterpart. To prove such a controversial claim, the philosophy of religion has been utilised as auxiliary discipline within Old Testament studies in the form of philosophicalcritical analysis (philosophical criticism / philosophy of Old Testament religion). A devil’s advocate's case against realism in Old Testament theology has been reconstructed in the form of seven arguments against the existence of Yahweh. According to the argument from theological pluralism, one element of the depiction of Yahweh in the text that is rather suspicious is the fact that Yahweh is characterised in ways that blatantly contradict each other. Both synchronic and diachronic perspectives on the theological contradictions suggest that there is no coherent biblical view of what Yahweh is actually like, what his will is and what he supposedly did. This deconstructs realism since the same actually existing entity cannot have discrepant attributes, hold mutually exclusive moral beliefs and have a history of both doing something and not doing the same thing at the same time. From the perspective of the argument from unorthodox theology, it is apparent that Yahweh is often depicted in ways most unorthodox from the point of view of Christian philosophical theology. Some texts appear to suggest he may not be eternal, single, omnipotent, omniscient, precognisant, immutable, omnipresent or wholly uninvolved in the actualisation of evil. If there is a God and if this God has all the attributes assigned to him by popular classical Christian philosophical theology, it follows that unorthodox depictions of Yahweh must be fictitious. In the view of the argument from polymorphic projection, everything about the god Yahweh appears suspiciously all-too-human. What Yahweh believes about the world, his self-talk, what he considers morally right and wrong and the way in which his own abode is run are all uncannily similar to the worldview and superstitions of the Iron Age Levant. The divine variables never transcend this all-too-local and all-too-cultural matrix and even change along with it. This unmasks Yahweh as ananthropomorphic, sociomorphic and sychomorphic projection – a character of fiction who does not exist outside the minds of those who created him in their image. The argument from mythology and syncretism demonstrates that the discourse of Yahweh’s religion and the sacred stories and poems in which he features contain numerous parallels to the myths, legends, folklore and superstitions found in other pagan religions. There are also marked traces of syncretism between the cult and theology of Yahweh and the ideologies of the Israelites' neighbours which, in each case, predates Yahwism. This suggests that Yahweh’s ontological status may very well not be all that different from that of El, Baal, Zeus or Maduk. From the perspective of the argument from fictitious cosmography, the world in the text where Yahweh is depicted as existing, acting and in which his abode is located and of which he is the creator, does not exist. Yahweh’s world and his worldview are demonstrably fictitious. Since the Old Testament depicts Yahweh as being “up there” in the sky and since we know that he is demonstrably not there, Yahweh-as-depicted stands unmasked as a character of fiction. The argument from fictitious history asserts that the Old Testament is filled with historical fiction. For a variety of reasons, it can be demonstrated that many of the depictions of supposed historical scenarios are completely fictitious in that they never happened in the way the details of the accounts imply were the case. Since what was intended as history is actually fiction and no god literally appeared, acted and spoke as Yahweh is depicted as doing, it follows that Yahweh as thus depicted is a character of fiction. He does not exist. Finally, the argument from meta-textual history shows that, on the one hand, the all-too-recent and all-too-local origins of the worship of Yahweh on a historical and cosmic scale unmask it as a wholly human enterprise. On the other hand, the Old Testament texts themselves have all-too-human origins rather than being the result of actual divine revelation. The Old Testament appears not to be the Word of God but human words about an allegedly existing deity. The development of Yahwism and its derivatives (Judaism and Christianity) seems not to have been determined by progressive revelation but by socio-cultural paradigm shifts and a history of repressed anti-realist tendencies. From such a meta-textual historical perspective it becomes obvious that Yahweh-as-depicted in the text is indeed no more than a product of human ideological imagination. In other words, he does not really exist. Though not all seven of these devil’s advocate’s arguments may be equally devastating when viewed in isolation, in the form of a cumulative argument against realism, they constitute seemingly irrefutable proof that Yahweh-as-depicted in the text does not exist. Consequently, realism collapses not only in Old Testament theology but also in any form of theism somehow related to, rooted in and/or dependent on realism in its discourse. / Thesis (PhD (Old Testament Science))--University of Pretoria, 2005. / Old Testament Studies / unrestricted

This dissertation was undertaken in collaboration with the Nisga’a First Nation of northwestern British Columbia to document their traditional plant knowledge. This information was gathered through collaborative audio recorded open-ended discussion with 21 Nisga’a elders, supplemented with material from the published literature and archival sources. Background information with respect to the Nisga’a culture, language, geography, plant classification and resource management is documented in the past and as exercised today. Nisga’a names or uses of 110 plant species are described. Of these, 72 species were documented as having been used for food, 52 for medicinal purposes; 12 for spiritual purposes and 70 for technological purposes. The role of plants in traditional Nisga’a culture is further explored through comparisons of plant distribution, plant names and pre-contact trade between the Nisga’a and their immediate neighbours, the Gitxsan, Tsimshian, Haida, Tahltan and Tlingit First Nations. Maps are presented which highlight the distribution of seven plant species traditionally important in these cultures: Shepherdia canadensis (soapberry), Vaccinium membranaceum (black huckleberry), Oplopanax horridus (devil’s club), Corylus cornuta (beaked hazelnut), Malus fusca (Pacific crabapple), Veratrum viride (false hellebore), and Taxus brevifolia (western yew). Currently, one of the plants most important to the Nisga’a is wa’ums or devil’s club (Oplopanax horridus). Devil’s club stems were measured in clearcuts of different ages to examine how quickly this important spiritual and medicinal species recovers after logging. Results suggest that although devil’s club does persist after clearcut logging, stems of a suitable size are rarely found in cutblocks less than 10 years old and that time since logging only partially accounts for the persistence or recovery of this species. The dissertation concludes with a discussion of historical Nisga’a plant knowledge. The gender of those who have held and transmitted traditional knowledge and the gender of present knowledge holders is tabulated and discussed. Results suggest that although both men and women hold and pass on traditional knowledge, women were and still are more commonly involved in its transmission to the next generation. Current plant uses are highlighted and prospects for the sustainable use of plants for personal and commercial purposes are discussed. / Graduate

This diploma thesis consists of two basic parts. The theoretical part, which you hold in your hands just now, and the practical part, which you can find in reduced ver-sion in the image supplement of this work and whose originals will be presented by the day of the diploma thesis defence session. In practical part of my work I have created a full collection of the whist cards using coloured lino-cut technology. In the theoretical concomitant of the art part I wrote about the history and the pre-sent of card games. You can find there informations about origin of cards, about their journey and spreading to the continental Europe, about cards in the Czech countries and about contemporary world of cards. I also wrote about kinds of cards, especially whist cards (they have separate chapter), about card games (games played in our area and games played with whist cards above all), about technology of card production and about their players. I dedicated one whole chapter to talk about practical realization of my whist cards collection, where I cleared up the choice of the theme, creation of con-crete figures and colours used.

Thesis (MA (English))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis interrogates the relationship between body, subjectivity and space in three antipastoral novels. The texts which I will be discussing, Karel Schoeman’s This Life, Anne Landsman’s The Devil’s Chimney and J.M. Coetzee’s In the Heart of the Country, all foreground the female protagonist’s relationship to a specifically South African landscape in a colonial time-frame. The inter-relatedness between the body, subjectivity and space is explored in order to show that there is a shifting interaction between these registers in the novels. Arising from this interaction, the importance of perspective as a way of being in the world is foregrounded. The approach adopted in this study is based on the assumption that our experience depends upon how we make meaning of the world through our bodies as we encounter people, places and objects. The lived, embodied experience is always a subjective experience. The conceptual framework is derived broadly from psychoanalysis and phenomenology. My primary concern in this study is how marginal subject positions are explored in the space of the South African farm, which, traditionally, is an ideologically fraught locus of Afrikaner patriarchy and oppression. The novels are narrated by distinctive female voices, each speaking differently, but all having the effect of undermining and exposing the hegemony of the patriarchal farm space. In all three novels the question of genre is involved as forming the space of the text itself. The novels speak to the tradition of the plaasroman and the pastoral and, in doing so, open up a conversation with the past. / AFRIKAANSE OPSOMMING: In hierdie tesis word die verhouding tussen die liggaam, subjektiwiteit en ruimte ondersoek in drie romans wat teen die pastorale literêre tradisie spreek. Die betrokke romans is This Life deur Karel Schoeman, The Devil’s Chimney deur Anne Landsman en In the Heart of the Country deur J.M. Coetzee. Die romans speel af in ‘n koloniale tydperk waar die vroulike protagonis se verhouding met die Suid-Afrikaanse landskap op die voorgrond gestel word. Die verwantskap tussen die liggaam, subjektiwiteit en ruimte word ondersoek om die interaksie tussen hierdie drie konsepte ten toon te stel. Wat vanuit hierdie interaksie voortspruit is die ontologiese rol wat perspektief speel as wyse om met die wêreld te verkeer. Hierdie studie benader die romans vanuit die siening dat die mens se ervaring afhang van hoe hy/sy die wêreld verstaan deur die interaksie tussen die liggaam en ander mense, ruimtes en objekte. Die beliggaamde ervaring is dus ‘n subjektiewe ervaring. Die konsepsuele raamwerk van hierdie ondersoek is afgelei van psigoanalise en fenomenologie. Die kern van hierdie studie is om te ondersoek hoe die posisie van die randfiguur in die ruimte van die Suid-Afrikaanse plaas ten toon gestel word. Die plaas is tradisioneel ‘n ideologiese bestrede ruimte van Afrikaner patriargie en onderdrukking. Die romans word verhaal deur drie kenmerkende en verskillende vroulike stemme wat dien om die hegemonie van die patriargale opset op die plase te ondermyn en ontbloot. Die vraagstuk van genre is in al drie romans betrokke aangesien genre die ruimte van die teks self uitmaak. Die romans spreek teen die tradisie van die plaasroman en die pastorale roman en tree sodoende in gesprek met die verlede.

2 Mgr. Jan Petružela Alfréd Radok and His Stage Practices Analysis of the Production of Devil's Circle Abstract Alfréd Radok (1914- 1976) started his second term at the National Theatre (1954-1960) with two moderate productions, in which he, due to the Stalinist régime, suppressed his creative power. However, the following season Radok came with the production of Devil's Circle (1953), schematic play by Hedda Zinner about the Leipzig trial (1933), in which he found his essential topic - to grasp the Zeitgeist and manifest a universal mechanism of totalitarian power and trumped-up political trials. In this production, staged in the period of mild political "thaw", Radok managed to bring back to the Czech theatre modern stage directing practices and re-established the position of stage director, which was reduced in the previous years by the dogmatic aesthetics of socialistic realism. The production of Devil's Circle (prem. December 21, 1955) at the Estates (then Tyl's) Theatre, warmly received by audience as well as critics, renewed and developed for that time unprecedented, though historically verified principles: imaginative, non-descriptive theatre with a meaningful overlap, strict approach to acting with an emphasis on realistic, civil-like expression, interpretation of dramatic sitution, intense work...