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Since the 1990s, the religious diversity of United States universities has increased, with growing numbers of students, faculty, and staff who are Muslim, Hindu, Buddhist, and Humanist. To support these demographics, university chaplaincies have been developing beyond their Christian and Jewish compositions to include chaplains and programs for these traditions. Through interviews with such chaplains, this project thesis examines how these chaplaincies developed, the preparation the chaplains needed, their responsibilities, and the current challenges and future prospects of these programs. It provides advice for university leaders about how and why to develop their spiritual life programs to support today’s religious diversity. / 2023-06-03T00:00:00Z

Submitted by THIAGO DE MORAES DOS PASSOS (passosgeograficos@gmail.com) on 2017-07-11T13:49:50Z No. of bitstreams: 1 versão final 11.07.pdf: 15728902 bytes, checksum: 0f74b75c0afd5cfec55b356aa13d04d1 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-07-14T16:24:36Z (GMT) No. of bitstreams: 1 passos_tm_me_prud.pdf: 15728902 bytes, checksum: 0f74b75c0afd5cfec55b356aa13d04d1 (MD5) / Made available in DSpace on 2017-07-14T16:24:36Z (GMT). No. of bitstreams: 1 passos_tm_me_prud.pdf: 15728902 bytes, checksum: 0f74b75c0afd5cfec55b356aa13d04d1 (MD5) Previous issue date: 2016-11-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A pesquisa em tela trata da paisagem da Vila de Paranapiacaba, que está localizada a aproximadamente 50 km da capital paulista, no Município de Santo André, São Paulo. Paranapiacaba é considerada patrimônio ambiental, histórico, tecnológico e arquitetônico, tendo sua origem ligada à instalação do sistema funicular inglês na região, em meados do século XIX. Trata-se de um conjunto arquitetônico tombado nas instâncias municipal, estadual e federal e indicado para pertencer ao Patrimônio Mundial pela UNESCO. Todas essas características fazem com que a experiência de seu habitar seja peculiar, sobretudo no que concerne às particularidades do tombamento, dos bens imóveis (a casa, o conjunto) e móveis (artefatos), pelos órgãos de proteção que visam à preservação e manutenção do patrimônio cultural. Por essa razão, o trabalho em tela tem como objetivo apresentar a experiência vivida dos moradores junto à paisagem. Acreditamos que a natureza intrínseca do habitar complica-se, ainda mais, quando a casa é “tombada”. Como, então, o fenômeno da paisagem se apresenta nessa circunstância? Esse fenômeno, que amalgama a expressão do patrimônio habitado, eleva exponencialmente a experiência vivida na casa. As ações foram realizadas em colaboração com os moradores, poder público e órgãos de proteção ao patrimônio cultural. Por tratar-se de um complexo sítio histórico, arquitetônico e tecnológico, de contexto ferroviário, com poucas intervenções de trabalhos arqueológicos, muitos dos vestígios materiais estão de posse dos moradores, que realizam, eles próprios, a curadoria de seus achados. Esses objetos jazem espalhados pela vila, seja nos quintais das casas, nos “lixões”, nas ruas e em outras dependências e/ou instalações da SPR (São Paulo Railway). Com o tempo, os moradores passaram a guardar esses objetos em suas casas, incorporando-os ao seu mobiliário doméstico. Sabendo das implicâncias implícitas em tal fenômeno, articulamos os diversos sujeitos sociais envolvidos, procurando, de forma dialógica e transversal, realizar atuações no âmbito da educação patrimonial. As reflexões aqui levantadas dizem respeito aos processos relacionados às ressignificações dos artefatos arqueológicos. Tomamos tal situação como contextual, cuja prática é uma forma de fortalecer identidades, por meio de novas narrativas, que se canalizam na cultura material. / This work deals with the landscape of the village of Paranapiacaba, which is located approximately 50 km from the city of São Paulo, in the city of Santo André, São Paulo. Paranapiacaba is considered an environmental, historical, technological and architectural patrimony, having its origin linked to the installation of the English funicular system in the region, in the middle of the 19th century. It is an architectural complex registered in the municipal, state and federal instances and indicated to be listed as one of the UNESCO Cultural World Heritage sites. All these characteristics make the experience of its dwelling peculiar, especially concerning the particularities of its heritage listing, its real estate (the house, the set) and its movable property (artifacts), by the protective organs that aim at the preservation and maintenance of the cultural heritage. For this reason, this work aims to present the experience lived by the residents along with the landscape. We believe that the intrinsic nature of dwelling becomes even more complicated when the house is a "heritage listed place." How, then, does the phenomenon of landscape present itself in this circumstance? This phenomenon, which amalgamates the expression of the inhabited patrimony, exponentially increases the experience lived in the house. The actions were carried out in collaboration with residents, public authorities and organs of protection of cultural heritage. As it is a complex historical, architectural and technological site, with a railway context, with few interventions of archaeological works, many of the material remains are in the possession of the residents, who curate their findings by themselves. These objects lie scattered throughout the village, either in the backyards of houses, in the garbage dumps, on the streets and in other facilities of the SPR (São Paulo Railway). Over time, residents began to store these objects in their homes, incorporating them into their home furnishings. Knowing the implications implicit in this phenomenon, we articulated the various social subjects involved, seeking, in a dialogical and transversal way, to perform actions in the area of heritage education. The reflections raised here refer to the processes related to the re-significances of the archaeological artifacts. We take this situation as contextual, whose practice is a way of strengthening identities, through new narratives, which are channeled into the material culture. / CNPq: 131828/2014-2

This document is a supportive paper for the M.F.A. Graduate Exhibition "Marking Time" held at the B. Carroll Reece Museum, East Tennessee State University, in fulfillment of the Master of Fine Arts degree. Within this paper, I discuss the subjective nature of my drawings and claim my role as a figurative humanist. Through drawing, I explore the emotive qualities of my own form. Rather than depicting actual spaces, I place myself in psychological spaces that reflect specific moods. Chiaroscuro creates an altered reality where visual tension is implicated through the physicality of my movements. This paper also briefly discusses the history of figurative expression, the figurative artists whose works embody this concept, and their influence on my work. An explanation of the individual drawings in the public exhibition is included in the paper. This document concludes with a personal reflection on my growth as an artist.

Book Summary: Does theism dominant the language and practices of public life in the United States? This volume explores this question from a humanist perspective, and in so doing it provides insight into the relationship of religion to public policy, and offers ways to advance a more democratic and secular public arena.

La philosophie de Descartes est-elle « une philosophie sans rhétorique »? L’on s’attendrait à ce que le principe de l’évidence qui requiert une transparence totale des idées refuse catégoriquement tout recours à l’art rhétorique fondé sur le vraisemblable et réputé faire obstacle à la vérité nue. Cependant, et malgré ses prises de position, Descartes, ancien élève des jésuites, ne renie pas l’héritage des litterae anciennes. Il s’agit de l’héritage rhétorique des humanistes de la Renaissance dans lequel les Pères jésuites ont considérablement puisé : la formation linguistique de Descartes est allée de pair avec un amour de l’éloquence dans son adolescence. Mais cette éloquence, originairement déployée dans un style d’apparat mu par l’enthousiasme, ne va pas chez le Descartes de l’âge mûr sans être guidée par le souci éthique de ne pas trahir la vérité. Derrière un voile transparent propre à transmettre cette vérité intacte, le philosophe tente à la fois de scruter son for intérieur et de s’insinuer discrètement dans l’esprit d’autrui. La rhétorique est ainsi un moyen indispensable pour donner corps au dialogue de la pensée et de l’écriture cartésiennes. / Is the philosophy of Descartes “a kind of philosophy without rhetoric”? We might expect that the principle of the evidence, which calls for a total transparency of the ideas, refuses categorically all recourses to the rhetorical art founded on the bounds of credibility and reputed to obstruct the bare truth. However, despite their captures of position, as an old student of the Jesuit, Descartes, doesn’t disown the heritage of the old litterae. It is important to point the rhetorical heritage of the Humanists from which the Jesuit Fathers have considerably drawn: the linguistic formation of Descartes has accompanied with a respect to the eloquence during his adolescence. But this eloquence, originally displayed in the sumptuous style driven by enthusiasm, doesn’t continue until his middle age without being guided by his ethical anxiety not to betray the truth. Behind a transparent veil proper to transmit this intact truth, the philosopher tries both to examine his deep mind and to creep into others’ spirits discreetly. The rhetoric is also an indispensable means in order to embody the dialogue of Cartesian thought and of writings.

Quando, aos 34 anos de idade, Paulo Rónai é forçado a se exilar da Hungria por ser judeu, ele já é um profissional em plena atividade. Doutor em filologia e línguas neolatinas, ele leciona francês e italiano em Budapeste; paralelamente, desempenha intensa atividade tradutória e já desponta na crítica literária. Depois de aprender português sozinho, em 1939 publica uma antologia de poetas brasileiros. Ao chegar ao Brasil, em 1941, salvo dos nazistas graças a um convite do governo de Getúlio Vargas, imediatamente é capaz de dar continuidade à sua atividade profissional. É professor de latim e francês em várias instituições, inclusive no Colégio Pedro II do Rio de Janeiro, onde assume a cátedra de francês. Intensifica sua atividade crítica em jornais de grande circulação e ao longo dos 50 anos que iria viver no país que adota como pátria poucos anos depois de aqui aportar, participa de muitos projetos culturais, como por exemplo, a organização da edição e supervisão da tradução dos 17 volumes de A Comédia Humana de Balzac, a edição póstuma de duas obras de João Guimarães Rosa, para citar alguns. Além de seus livros, entre artigos e resenhas, Rónai publica mais de 1.100 vezes. Visando delinear seu perfil intelectual, pesquisou-se sua produção literária, tanto na Hungria como no Brasil: primeiro em seu acervo particular, e depois nas mais diversas fontes e recursos. A análise do mapeamento resultante estimulou novas pesquisas no sentido de determinar as bases teóricas que fundamentaram a intelectualidade de Paulo Rónai, e o impacto desse arcabouço teórico na caracterização de sua atividade. Concluiu-se que todas as suas facetas de profissional erudito filólogo, humanista, tradutor, lexicógrafo e até mesmo a atividade pedagógica formam um todo coeso e contribuem entre si para enriquecer a função de crítico literário. / When, at the age of 34, Paulo Rónai was forced into exile from Hungary due to his Jewish origin, he was already a fully-active professional. With a PhD in Philology and Romantic languages, Rónai taught French and Italian in Budapest. In addition, he was a very active translator and began to become known in the field of literary criticism. After teaching himself Portuguese, Rónai published an anthology of Brazilian poetry in 1939. Upon his arrival in Brazil, in 1941, after being saved from the Nazis through an invitation from the Getúlio Vargas government, he was able to resume his career immediately. He taught Latin and French in several institutions, including Colégio Pedro II in Rio de Janeiro, where he assumed the French chair. He intensified his activity in the field of literary criticism, publishing in leading newspapers. Throughout the half century that he would live in his adopted country, he partook in many cultural projects, such as the translation supervision and publication of the 17-volume La Comédie Humaine by Balzac and the editing of two posthumous books by Guimarães Rosa, just to name a few. In addition to his books, including articles and reviews, Rónai published more than 1,100 times. In an attempt to delineate his intellectual profile, his literary production has been researched both in Hungary and in Brazil, initially in his private library, and later in several sources. The analysis of the resulting mapping stimulated further research toward the theoretical foundation of Paulo Rónais intellectual character, as well as the impact of that theoretical foundation on his contributions. It was concluded that all of his erudite capabilities, whether philological, humanistic, lexicographic, pedagogical, or related to translation, came together as a cohesive whole and contributed to enriching his performance as a literary critic.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-17T17:33:24Z No. of bitstreams: 1 LuisFreitas.pdf: 1262995 bytes, checksum: dee88b1bb33b14c95fab4165b30db13f (MD5) / Made available in DSpace on 2017-05-17T17:33:24Z (GMT). No. of bitstreams: 1 LuisFreitas.pdf: 1262995 bytes, checksum: dee88b1bb33b14c95fab4165b30db13f (MD5) Previous issue date: 2017-03-24 / This presente study aims to analyze the geographycity in two important Literature books in portuguese language named Vidas secas, by the brazilian author Graciliano Ramos and Os flagelados do vento leste, by the Capeverdian writer Manuel Lopes. The brazilian novel portraits a countryside family which has a hard life in the northeastern backwoods due to the drought phenomenon that reaches the region where these people live and, because of that, they move to other regions in search of surviving.The Capeverdian book points out a sad scenery in which the drought reaches all aspects of life of the characters forcing them to be reduced to the removers plagued condition by hunger. The analysis will be done based on the principles and concepts of the Cultural Humanist Geography, in which discussions related to landscape, space, place, topophilia, topophobia,perception and experience will be held in the light of this Humanist bias of phenomenological-existential basis, developted, by Eric Dardel, YiFu Tuan, Edward Relph and others. The Geography and Literature specificities will be showed as well as the contacts and distance aspects between these two study areas. It will be emphasized the historical, social and cultural contextualization of both books, based on their aesthetic-literary value. / Objetiva-se com o presente estudo analisar a geograficidade em duas obras importantes das literaturas em língua portuguesa intituladas Vidas secas, do brasileiro Graciliano Ramos e Os flagelados do vento leste, do cabo-verdiano Manuel Lopes. O romance brasileiro trata de uma família sertaneja que leva uma vida sofrida no sertão nordestino devido ao fenômeno da seca que assola a região onde vive e, por causa disso, desloca-se para outras regiões em busca da sobrevivência. A obra caboverdiana evidencia um cenário desolador em que a seca assola todos os aspectos da vida das personagens a ponto de reduzi-las à condição de retirantes flageladas pela fome. A análise será realizada a partir dos princípios e conceitos da Geografia Humanista Cultural, em que serão discutidos os conceitos de paisagem, espaço, lugar, topofilia, topofobia, percepção e experiência à luz desse viés humanista de base fenomenológico-existencial, desenvolvido, sobretudo, por Eric Dardel, Yi-Fu Tuan, Edward Relph e outros. Serão evidenciadas as especificidades da Geografia e da Literatura, bem como os pontos de aproximação e distanciamento entre as duas áreas do conhecimento. Será dada ênfase à contextualização histórica, social e cultural das respectivas obras, em que pese seu valor estético-literário.

This book offers a major contribution for understanding the spread and appeal of the humanist movement in Renaissance Florence. Investigating the connections between the individuals who were part of the humanist movement, Brian Jeffrey Maxson reconstructs the networks that bound them together. Overturning the problematic categorization of humanists as either professional or amateurs, a distinction based on economics and the production of original works in Latin, he offers a new way of understanding how the humanist movement could incorporate so many who were illiterate in Latin, but who nonetheless were responsible for an important intellectual and cultural paradigm shift. The book demonstrates the massive appeal of the humanist movement across socio-economic and political groups and argues that the movement became so successful and so widespread because by the 1420s¬-30s the demands of common rituals began requiring humanist speeches. Over time, deep humanist learning became more valuable in the marketplace of social capital, which raised the status of the most learned humanists and helped disseminate humanist ideas beyond Florence. / https://dc.etsu.edu/etsu_books/1042/thumbnail.jpg