Thesis (D. Min.)--Southwestern Baptist Theological Seminary, 2006. / Abstract. Includes bibliographical references (leaves 192-204).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. Description based on print version record. Includes bibliographical references.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2000. / Includes abstract and vita. Includes bibliographical references (leaves 81-90).

Esta tese tem como objetivo analisar os casos de possessão demoníaca e a prática de exorcismos em Portugal, no âmbito da sua história cultural. Baseia-se principalmente em registros inquisitoriais e episcopais, e tem como principal objetivo demonstrar que, no contexto da disciplina espiritual e social, da propaganda religiosa e dos horizontes hagiográficos, floresceram em Portugal casos de possessão demoníaca. Por outro lado, a prática de exorcismos provou ser um fenômeno cultural muito difundido, agindo no contexto do infortúnio e da doença. / This thesis has the goal of analysing the cases of demonic possession and the practice of exorcisms in Portugal, on the context of their cultural history. It is based mainly on inquisitorial and episcopal records, and its main purpose is to demonstrate that, in the context of spiritual and social discipline, religious propaganda and hagiographic horizons, cases of demonic possession flourished in Portugal. By the other side, the practice of exorcisms has provd to be a very widespread cultural phenomenon, acting on the context of misfortune and malady.

Esta tese tem como objetivo analisar os casos de possessão demoníaca e a prática de exorcismos em Portugal, no âmbito da sua história cultural. Baseia-se principalmente em registros inquisitoriais e episcopais, e tem como principal objetivo demonstrar que, no contexto da disciplina espiritual e social, da propaganda religiosa e dos horizontes hagiográficos, floresceram em Portugal casos de possessão demoníaca. Por outro lado, a prática de exorcismos provou ser um fenômeno cultural muito difundido, agindo no contexto do infortúnio e da doença. / This thesis has the goal of analysing the cases of demonic possession and the practice of exorcisms in Portugal, on the context of their cultural history. It is based mainly on inquisitorial and episcopal records, and its main purpose is to demonstrate that, in the context of spiritual and social discipline, religious propaganda and hagiographic horizons, cases of demonic possession flourished in Portugal. By the other side, the practice of exorcisms has provd to be a very widespread cultural phenomenon, acting on the context of misfortune and malady.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2014-09-11T12:48:31Z No. of bitstreams: 1 Indianara Lima Silva.pdf: 1509291 bytes, checksum: 2ed3dccb4ce7bfcceee6850f9e4ce690 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2014-09-11T15:52:46Z (GMT) No. of bitstreams: 1 Indianara Lima Silva.pdf: 1509291 bytes, checksum: 2ed3dccb4ce7bfcceee6850f9e4ce690 (MD5) / Made available in DSpace on 2014-09-11T15:52:46Z (GMT). No. of bitstreams: 1 Indianara Lima Silva.pdf: 1509291 bytes, checksum: 2ed3dccb4ce7bfcceee6850f9e4ce690 (MD5) / A figura de Arthur Holly Compton geralmente é concebida como um dos pais fundadores da mecânica quântica devido à sua formulação quântica para explicar o processo de interação entre a radiação de alta frequência e a matéria. Todavia, a história de Compton evidencia-nos um personagem que destoa da imagem de um físico interessado no desenvolvimento da teoria quântica. De fato, o seu interesse e a sua motivação, de 1917 a 1922, estavam relacionados com o uso da física clássica para o estudo do espalhamento dos raios X e γ pela matéria. A descoberta do efeito Compton foi o resultado obtido por um físico clássico que relutava em aceitar o quantum de radiação. O objetivo desta investigação é, portanto, destacar a imagem de um físico clássico que estava inserido em um programa de pesquisa bem definido, a física dos raios X e γ, a partir do qual ele contribuiu tanto para o desenvolvimento dessa área de pesquisa quanto para a construção da mecânica quântica. Nós discutiremos, neste trabalho, desde a hipótese do grande elétron até a abordagem quântica construída por Compton para explicar o processo de espalhamento da radiação X e γ pela matéria.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-10-24T19:52:28Z No. of bitstreams: 1 Figueiredo, Cecilia-Tese-Historia-2014.pdf: 1818707 bytes, checksum: f0b9c9b68bc06b34087323f7fbbba950 (MD5) / Made available in DSpace on 2014-10-24T19:52:28Z (GMT). No. of bitstreams: 1 Figueiredo, Cecilia-Tese-Historia-2014.pdf: 1818707 bytes, checksum: f0b9c9b68bc06b34087323f7fbbba950 (MD5) / O trabalho tem por objeto o estudo da ação dos esmoleiros da Bula da Santa Cruzada, no período de 1748 a 1828, na região das Minas. Buscou-se entender o significado da arrecadação da esmola para Portugal cujo objetivo era combater os infiéis no norte da África e defender a fé cristã, além da manutenção das praças mercantis. A tese aborda os significados da arrecadação das esmolas, a importância para Portugal da defesa da cristandade e as representações simbólicas da doação, além de tratar da desconfiança dos doadores na Colônia. Procurou-se ainda caracterizar as modalidades de esmoleiros mores e menores e a especificidade dos tesoureiros da Bula como agentes a serviço do Estado e os privilégios detidos em razão do exercício da função e o lugar de distinção na sociedade da época. O trabalho ainda aborda a importância da Bula através das festas e rituais que tinham lugar na Colônia à época de sua publicação anual, onde compareciam autoridades civis e eclesiásticas, ato que legitimava os benefícios da Bula e conferia aos seus oficiais, reconhecimento, posição e autoridade. E mostra como a representação simbólica do infiel atualizava-se nas cavalhadas, onde a luta entre mouros e cristãos era ritualizada, momento de atualização do mito constitutivo da história política portuguesa. / This work it takes as an object the study of the meaning of the action of the Alms beggar of the Bull of the Saint Crusade, in the period from 1748 to 1828, in the region of the Mines. It was looked to understand the meaning of the tax revenue of the donation of Portugal which objective was to fight the unfaithful ones in the north of Africa and to defend the Christian faith, besides the maintenance of the mercantile squares. The dissertation boards the meanings of the tax revenue of the charities, the importance for Portugal of the defense of the Christhendom and the symbolic representations of the donation, besides treating the suspicion of the donors in the Colony. It tried still to characterize the kinds of Alms beggars live and juveniles and the especifical of the treasurers of the Bull like agents to service of the State and privileges detained on account of the exercise of the function and the place of distinction in the society of the time. The work still boards the importance of the Bull through parties and rituals what had place in the Colony to the time of his annual publication, where there were appearing civil and ecclesiastical authorities, act that was legitimizing the benefits of the Bull and was tallying to his officials, recognition, position and authority. And display like the symbolic representation of the unfaithful one was updating in the herds of horses, where the struggle between Moorish and Christian was ritualized, moment of updating of the constitutive myth of the Portuguese political history.

xi, 158 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This study, set in the context of the feminist sex wars, explores the performances of Holly Hughes, Carmelita Tropicana, and Split Britches throughout the 1980s and early 1990s. The purpose of this study is to better understand the implications of a specific style of lesbian comedic performance, found at the WOW Café and defined here as lesbian camp, throughout a contentious era in feminist politics. The motivating questions for this study are: How can a performance inspire an activated spectatorship? How have lesbian comedic performance practices provoked feminist theory and practice? Chapter II defines lesbian camp and attempts to trace a dialogue among lesbian performance critics and academics ruminating over lesbian camp and its existence. It also explores lesbian camp's relationship to drag and butch-femme as well as how lesbian camp functions within specific performances of Holly Hughes, Split Britches, and Carmelita Tropicana. Chapter III argues that it is the very element of lesbian camp that brings forth the potential for an activated spectatorship. It is a chaotic, unstable environment that exposes and disassembles deep-seated fears, ideals, and practices seemingly inherent, although pragmatically constructed, to our communities and cultures throughout the 1980s and early 1990s. It presents a climate of resistance through the disruption of identificatory practices. This, in turn, provokes an activated spectatorship. Chapter IV examines the effects these artists had on the larger stage of the feminist sex wars and culture wars. Holly Hughes, for example, became a national figure, defunded from the National Endowment for the Arts due to her subject of the queer body, then deemed obscene and pornographic. Split Britches were popularized by feminists in the academy not only for their creative techniques but also for their (de)construction of butch-femme coupling. Carmelita Tropicana brought drag to a whole new level with incorporation of male and female drag into her hybrid performances. / Committee in charge: John Schmor, Chairperson, Theater Arts; Sara Freeman, Member, Theater Arts; Theresa May, Member, Theater Arts; Ellen Scott, Outside Member, Sociology

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-17T12:55:38Z No. of bitstreams: 1 rafaeldecastrolins.pdf: 1654542 bytes, checksum: 80d0563141064395821f3394ca631d28 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T13:58:43Z (GMT) No. of bitstreams: 1 rafaeldecastrolins.pdf: 1654542 bytes, checksum: 80d0563141064395821f3394ca631d28 (MD5) / Made available in DSpace on 2018-05-22T13:58:43Z (GMT). No. of bitstreams: 1 rafaeldecastrolins.pdf: 1654542 bytes, checksum: 80d0563141064395821f3394ca631d28 (MD5) Previous issue date: 2017-02-22 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O trabalho de pesquisa concentrou-se na análise de seletas obras do literato franco-argelino Albert Camus, com vistas no trato camusiano ao que tange o imaginário religioso cristão do século XX. Inicialmente, fez-se uma passagem analítica pelo Teatro do Absurdo – as peças Calígula e O Equívoco – a fim de retratar a concepção camusiana da divindade cristã sob o prisma da negação. O passo seguinte concentrou-se sobre o romance A Peste, à procura da percepção camusiana acerca da santidade sem Deus. No Teatro do Absurdo Deus fora representado em termos de silêncio, instituindo assim uma forma peculiar de escatologia negativa. No romance A Peste o silêncio de Deus precede e impele à santidade sem Deus. Nesse sentido, a pesquisa pôde realçar o itinerário lítero-dramático a partir do silêncio de Deus à santidade sem Deus. Os conceitos basilares do pensamento camusiano, Absurdo e Revolta, foram delimitados no que diz respeito à religião cristã e reduzidos, portanto, aos aspectos do silêncio e da santidade. Ao retratá-la em termos de opacidade, a Pergunta Deus fora abandonada no Teatro do Absurdo para dar lugar à pergunta pela santidade sem Deus em A Peste. Sob a influência da Guerra, Camus esboçou um mundo em ocaso, regido por forças trágicas, e acima dele um Deus omisso que se cala diante do espetáculo da morte. Não obstante, para Camus a Revolta é o único resultado lógico da constatação do Absurdo, por isso A Peste traduz-se em seguir moralmente em oposição à miséria e à morte, sem esperar de Deus senão o seu silêncio. Neste rompante de resistência à morte desponta o personagem tipo do romance, o Santo sem Deus. Por último fitou-se a moral do Santo sem Deus. Provida de compaixão e destituída de esperanças, a moral do Santo camusiano nasce da experiência sensível com o sofrimento, ela se sustém essencialmente sobre o horror à morte e o escândalo inexpiável na presença do mal. / The research paper was concentrated at the analysis of selected works of Albert Camus, a litter French-Algerian, seen at the treaty to the 20th century Christian religious imaginary. At the first hand, it was made an analytical passage at the Theater of the Absurd – the dramas Caligula and The Misunderstanding – in order to report the camusian conception of the Christian divinity. Under the denial‘s prism. At the second hand, it was concentrated on the novel The Plague, looking for the camusian perception about holiness without God. At the Theater of the Absurd, God was represented in silence terms. Thus, constituting a peculiar form of negative eschatology. At the novel The Plague, the God‘s silence precedes and impels holiness without God. In this sense, the research could focus on the litter-dramatic itinerary by God‘s silence to the holiness without God. The basic concepts of camusian thought, Absurd and Revolt, were delimited. Concerning to the Christian religion and reduced, thus, to the silence and holiness aspects. Retracting in the opacity terms, The God Question, were left on the Theater of the Absurd to give a place to the question about holiness with no God in The Plague. Under war‘s influence, Camus outlined a world in decay, governed by tragic force, and above it there was a missing God who stay in silence in front of the death spectacle. Despite, for Camus the Revolt is the only logic result of Absurd‘s confirmation, because of it, The Plague translate it by following morally in opposition to misery and death, without waiting God than him silence. In this outburst death‘s resistance rises the typical novel character, the holy without God. At the end, the moral in holy without God was focused. It was provided by compassion and hope deprived, the camusian holy was born by the sensible experience with suffering, it is held, essentially, by the horror of death and inexpiable scandal in the madness presence.

Ce travail propose une lecture de la création artistique russe actuelle – 1990-2010 – au regard de l’histoire qu’elle entretient avec la folie grâce à l’analyse de personnages qui émaillent son paysage culturel. Que ces derniers soient jugés fous – fols-en-Christ ou jurodivye, artistes romantiques, dissidents internés en Union soviétique – ou qu’il s’agisse de figures traditionnelles d'idiots – Ivan le simple, le prince Mychkine de Dostoïevski –, un pont sera créé qui reliera ces archétypes et certaines pratiques de l’extrême contemporain, allant jusqu’à la prière-punk des Pussy Riot. Cette étude porte sur le concept d’une idiotie comme posture artistique permettant à l’artiste de se faire le médiateur d’une vérité – politique, religieuse ou sociale. Avançant masqué, il révèle ainsi les glissements sémantiques opérés entre les notions de « folie » et de « norme », en parallèle des rapports qu’entretiennent « art » et « politique ». L’histoire de la folie en Russie sera par ailleurs abordée à travers diverses formes d’envol – compris d’un point de vue métaphysique comme un escapisme de la raison. La littérature servira de socle à une première analyse de la figure romantique de l’artiste maudit à la raison vacillante, celle-ci ensuite mise à mal par les créateurs postmodernes qui déconstruisent aussi bien le mythe du saint idiot que celui du génie artistique, par l’incarnation d’un créateur sot reproduisant des formes sans en saisir le sens. Certains en appellent de surcroît, directement ou non, à la figure ancestrale du jurodivyj afin d’élaborer des postures critiques, parfois scandaleuses, envers les pouvoirs politique et religieux. Considérant les réactions virulentes que peuvent susciter les pratiques actuelles, et grâce à l’étude d’œuvres problématiques représentatives, les causes de leur rejet deviendront explicites. Il sera ainsi permis d’envisager ces créations, paraissant en rupture avec l’ordre établi, dans leur ancrage au sein d’une tradition historique et littéraire de la folie. / This work proposes an interpretation of the current Russian artistic creation – 1990-2010 – with regard to his links with history of madness, through the analysis of characters that punctuate Russian cultural landscape. The latter characters are deemed insane – holly fools, Romantic artists, dissidents interned in the Soviet Union - or whether are traditional idiots figures - Ivan the fool, Dostoevsky’s Prince Myshkin. A bridge will be created linking these archetypes and certain contemporary practices, up to Pussy Riot’s punk prayer. This study focuses on the concept of idiocy as an artistic position which allows the artist to become a mediator of a political, religious or social truth. The creator, moving forward hidden, reveals semantic shifts made by the concepts of "madness" and "norm", in parallel with relations held between "art" and "politics." The history of madness in Russia will also be depicted through various forms of soaring - understood in a metaphysical point of view as an escapism of reason. Literature will be used as a base for a first analysis of the romantic image of the damned artist with flickering reason. This picture will then be undermined by postmodern creators who both deconstruct the myths of the holy fool and the artistic genius, by their incarnation of a stupid creator reproducing forms without understanding their meaning. Moreover, some of them require, directly or not, to the ancestral figure of the holly fool to develop critical postures, sometimes scandalous, against political and religious powers. Considering the violent reaction that can generate the current artistic practices, and through the study of representative problematic works, the causes of their rejection shall become explicit. This will make it possible to consider these creations – apparently breaking with the established order – in their anchor within a historical and literary tradition of madness.