Submitted by Rosangela Silva (rosangela.silva3@unioeste.br) on 2018-05-09T17:46:41Z No. of bitstreams: 2 Lucas Cardoso dos Santos.pdf: 4345869 bytes, checksum: 41d123b138892e097b3cda36e08d7cfe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-09T17:46:41Z (GMT). No. of bitstreams: 2 Lucas Cardoso dos Santos.pdf: 4345869 bytes, checksum: 41d123b138892e097b3cda36e08d7cfe (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2012-06-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper has the objective to stablish a critical reflection on the political participation of first laddies in Cascavel-PR between 1990 and 2007, particularly considering their relation to public social assistance. As Brazil is a country colonized by europeans, the Christian tradition was quite influent in the colony development and for that it was part of feminine world to deal with a dark destine in which it was believed that the women were addicted to the desires of the flesh, in other words, to the sin, and this made them an object of care and constant observation by those who belonged to other social groups. That resulted on women’s imprisonment in the interior of private spaces and consequently in their social banishment. The starting point of this analysis was to look for the understanding of factors that made possible and, later on, legitimate the feminine submission to the male genre. After that, the processes that allowed the women’s insertion in social life and mainly the transformations in the social environment by their entrance in the political life articulated to the new requirements of the economic system was analyzed. The study was based on the hypothesis that the centuries of exclusion that kept women basically at home also resulted into their distance from the political matters. This way, being the politics an area of dispute and interests, it wouldn’t be compatible with the feminine ideal of innocence and purity. It was then established one of the first problematics proposed in this study, being man or woman in the Ocident becomes something much bigger than the simple physiologic difference; it involves absorbing the personal actions of each one defined socially. It was noticed that even the feminine political participation turned to social assistence was only possible due to the qualities that are considered basically feminine as abnegation, solidarity, care and others. Having mentioned that, it was analyzed the experience lived by first ladies in Cascavel-PR whose participation in the social area has been understood as support to poor people. In special, the attention was centered on the marginal childhood history of the city, once the social area is quite broad and many ones depend on it. Besides that, in the 90s Cascavel was going through a difficult time involving youngsters that exposed themselves to the street risks and entered in the drug world. / Este trabalho tem o intuito estabelecer uma reflexão crítica a respeito da participação política das primeiras damas no município de Cascavel-PR entre os anos de 1990 e 2007, particularmente, no que diz respeito sobre sua relação com o assistencialismo municipal. Sendo o Brasil um país colonizado por europeus, foi a tradição cristã muito influente no desenvolvimento da colônia e, assim, ao universo feminino coube um assombroso destino, onde a crença de que era a mulher um ser propenso aos vícios da carne, ou seja, ao pecado, tornou-a objeto de cuidados e de constante vigilância por parte das mais diversas instâncias sociais, resultando no seu aprisionamento no interior do espaço privado e consequentemente seu banimento social. O ponto de partida da análise é a busca da compreensão dos fatores que tornaram possível e, posteriormente, legítimo a submissão feminina ao gênero masculino. Na sequência, analisamos os processos que possibilitaram sua introdução no meio público e, principalmente, as transformações no meio social que permitiram sua entrada na vida política articulada às novas exigências do sistema econômico. Partimos da hipótese de que os séculos de exclusão que as trancafiaram dentro de casa também resultou no seu distanciamento das questões políticas. Assim, sendo a política um campo de disputas e interesses, este não seria compatível com o ideal feminino de ingenuidade e pureza. Portanto, estabelece-se uma das primeiras problemáticas proposta neste trabalho, melhor dizendo, ser homem ou ser mulher no ocidente, torna-se algo muito maior do que a simples diferença fisiológica, implica em absorver as condutas próprias de cada um definidas socialmente. Assim, percebe-se que, até mesmo a participação política feminina voltada para o assistencialismo só foi possível devido a qualidades que são consideradas atributos femininos como a abnegação, solidariedade, cuidados, dentre outros. Posto isso, tecemos análises sobre a experiência vivida pelas primeiras damas no município de Cascavel-PR, onde sua participação na área social tem sido compreendida como um auxílio aos pobres. Em especial, nos atemos ao histórico da infância marginal do município, uma vez que a área social é bem abrangente e muitos são os que dela necessitam, e, ao mesmo tempo, a Cascavel dos anos de 1990, passava por um difícil período envolvendo “menores” que se expunham aos riscos da rua e adentravam ao mundo das drogas.

This research focuses on the lives of migrant mine labourers in the Free State Gold mines of Welkom. After a lengthy absence from home, away from home, some of the migrant mine labourers contact the deadly disease of HIV/AIDS. As they become weaker to work at the mines, some are relegated work at the surface, some are sent to the local hospice whilst some are left to die alone without anyone caring for them. The local community of Welkom regarded these miners as the carriers and transporters of this deadly disease due to their perceived slackness in morality by using the services of the local ladies of the night (commercial sex workers). On the basis of the above painted scenario, the migrant mine labourers were thus subjected to discrimination and stigmatisation by the local community, who regarded them as foreigners even in their country of birth. The research, therefore, aimed to pastorally journey with the infected mine labourers through their trauma of being infected by HIV/AIDS AND of being discriminated and rejected by the community which is supposed to support them in their hour of need and despair. Since the spread of HIV/AIDS is largely through sexual contact, the research, therefore, examined both the community and the church’s attitude towards sex, stigma and discrimination. A participatory observation approach was used and the analysis of the concepts that were at play during the trauma of the infected mine labourers were examined. In this research, the local community was viewed as the fertile ground of hostility against the infected migrant mine labourers. In this regard, the study powered the infected mining community with the challenges posed by HIV/AIDS and therefore sought ways and means of forming a support base for those infected and affected. This was done by breaking the conspiracy of silence around the issue of HIV/AIDS both at the community and the church level. Finally, the study concluded with ways of empowering the pastoral care-giver on how to journey with someone who has been diagnosed with HIV in order to close one’s last chapter of life in honour and dignity. New approaches based on relevant literature and affirmation of God’s power and healing were suggested. / Dissertation (MA(Theol))--University of Pretoria, 2011. / Practical Theology / unrestricted

The author's aim is to describe the history of the Congregation of Jesus, also known as 'English Ladies' (Virgins), in Czechoslovakia, especially on the territory of today's Czech Republic. Emphasis will be placed on the work and life of the congregation in the 20th century. Part of the work will be personal memories of selected sisters reflecting the so-called real socialism.

Analysens syfte har varit att ta reda på vilken förändring som skett av kvinnosynen i svenskteleviserad humor. Frågeställningarna har behandlat hur kvinnorollen, manligheten ochhumorn i Sveriges television förändrats från 1960-talet till 2010-talet och besvarats genom attanalysera programmen Skäggen och Ladies Night - där en kvinna är ensam i en gruppbestående enbart av män. Roland Barthes bildsemiotiska principer om denotation ochkonnotation har använts för att ta reda på vilka indirekta meningar som går att tolka ur detdirekta audiovisuella materialet. Även Yvonne Hirdmans teori om genus och genussystemethar applicerats för att förstå hur kvinnan framställs jämte mannen. Analysen visade attkvinnans roll gått från att ha en mammaroll och ett hemmafruideal till att vara en person somtystas och inte få komma till tals bland männen. Männen har förändrats från att äta och drickaalkohol i TV, till att driva med sig själva och patriarkatet och humorn har gått från att drivamed tittarna på tittarnas bekostnad, till att skapa humor genom att skapa en förvridning avverkligheten.

No description available.

Thesis (MPhil (Afruikaans and Dutch))—University of Stellenbosch, 2006. / This descriptive case study is based on the translation of the first part of Alexander McCall Smith’s book, The No.1 Ladies’ Detective Agency, into Afrikaans. Examples of the type of translational problems that this translator experienced, as well as the strategies that were implemented to solve these problems, are discussed in an accompanying annotation. In this way the translator has attempted to explain her thought and decision-making processes during the translation process. Various concepts from translation studies theory, including foreignization and domestication, are discussed with reference to the practical translation, and support the solutions suggested for translational problems. This translator mainly used a foreignizing approach, although some degree of domestication was inevitable at times in order to avoid the alienation of target readers from the target text. The required characteristics of the target text and the knowledge and cultural background of the target readers are therefore also discussed, as both these factors played a defining role during the translation process. The need for Afrikaans literature between the so-called “high literature” and light romantic fiction is discussed, as this contributed to the choice of source text: according to this translator the translation of The No.1 Ladies’ Detective Agency into Afrikaans will be able to help fill this gap. Although this translator understands that financial restrictions play a large role in publishers’ reluctance to publish translations, the statement is made that they should not accept without further ado that an Afrikaans translation will result in a financial loss if no research has been done into the possibilities of that specific translation. Recommendations regarding market research are made and the possibility of future study is indicated.

<p><!--StartFragment--></p><p class="MsoNormal"><span lang="EN-GB">My thesis deals with the novel </span><em><span>Ladies</span></em><em><span lang="EN-GB">,</span></em><span lang="EN-GB"> written in 2007 by the Swedish author Mara Lee. When published, it was received as a book belonging to the chick lit genre but still got good reviews. This combination is really unusual and awoke my interest in the novel. My thesis is therefore an analysis whether </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> can be considered a chick lit novel or not, and in what way it is similar to or differs from the genre.</span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">I start my thesis with an overview of former research of chick lit and what earlier was called trivial literature. Here Lisbeth Larsson’s <em>En annan historia</em>, </span><em><span lang="EN-GB"><span>[</span></span></em><em><span lang="EN-GB">Another Story</span></em><em><span lang="EN-GB"><span>]</span></span></em><em><span lang="EN-GB">,</span></em><span lang="EN-GB"> Janice Radway’s <em>Reading the Romance</em> and Suzanne Ferriss’ and Mallory Young’s anthology <em>Chick Lit The New Woman’s Fiction</em> were necessary to understand the background of the genre.</span></p><p class="MsoNormal"><span lang="EN-GB">After the research overview I continue with a narratological analysis, using the concepts of Maria Nikolajeva’s <em>Barnbokens byggklossar </em></span><em><span lang="EN-GB"><span>[</span></span></em><em><span lang="EN-GB">The Bricks of the Children Book</span></em><em><span lang="EN-GB"><span>]</span></span></em><span lang="EN-GB"> to look at the structure of a chick lit story. After finishing my chick lit genre analysis I try to complete my own definition of the genre.</span></p><p class="MsoNormal"><span lang="EN-GB">I find the themes love, sexuality and body focus in </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> especially interesting and therefore choose to look closer into how these areas are represented in the book. By using Judith Butler’s concepts the heterosexual matrix, the represented gender and Tiina Rosenberg’s hetero normativity I analyse the representation of the themes. </span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">In the final discussion I compare my different analyses and my conclusion shows that </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> can’t be considered belonging to the chick lit genre. The biggest difference lies in how love and sexuality are represented in the book compared to chick lit novels. Whereas chick lit in many cases confirms gender stereotypes and conservative norms, </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> actually, according to my analysis, questions them.</span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">In the end I am finally doing a short reflection about the novel and the author using Pierre Bourdieus concepts about symbolic resources and ”habitus”. </span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><!--EndFragment--><p> </p>

<!--StartFragment--> <p class="MsoNormal"><span lang="EN-GB">My thesis deals with the novel </span><span>Ladies</span><span lang="EN-GB">,</span><span lang="EN-GB"> written in 2007 by the Swedish author Mara Lee. When published, it was received as a book belonging to the chick lit genre but still got good reviews. This combination is really unusual and awoke my interest in the novel. My thesis is therefore an analysis whether </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> can be considered a chick lit novel or not, and in what way it is similar to or differs from the genre.</span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">I start my thesis with an overview of former research of chick lit and what earlier was called trivial literature. Here Lisbeth Larsson’s En annan historia, </span><span lang="EN-GB"><span>[</span></span><span lang="EN-GB">Another Story</span><span lang="EN-GB"><span>]</span></span><span lang="EN-GB">,</span><span lang="EN-GB"> Janice Radway’s Reading the Romance and Suzanne Ferriss’ and Mallory Young’s anthology Chick Lit The New Woman’s Fiction were necessary to understand the background of the genre.</span> <p class="MsoNormal"><span lang="EN-GB">After the research overview I continue with a narratological analysis, using the concepts of Maria Nikolajeva’s Barnbokens byggklossar </span><span lang="EN-GB"><span>[</span></span><span lang="EN-GB">The Bricks of the Children Book</span><span lang="EN-GB"><span>]</span></span><span lang="EN-GB"> to look at the structure of a chick lit story. After finishing my chick lit genre analysis I try to complete my own definition of the genre.</span> <p class="MsoNormal"><span lang="EN-GB">I find the themes love, sexuality and body focus in </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> especially interesting and therefore choose to look closer into how these areas are represented in the book. By using Judith Butler’s concepts the heterosexual matrix, the represented gender and Tiina Rosenberg’s hetero normativity I analyse the representation of the themes. </span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">In the final discussion I compare my different analyses and my conclusion shows that </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> can’t be considered belonging to the chick lit genre. The biggest difference lies in how love and sexuality are represented in the book compared to chick lit novels. Whereas chick lit in many cases confirms gender stereotypes and conservative norms, </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> actually, according to my analysis, questions them.</span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">In the end I am finally doing a short reflection about the novel and the author using Pierre Bourdieus concepts about symbolic resources and ”habitus”. </span> <p class="MsoNormal"><span lang="EN-GB"> </span> <!--EndFragment-->

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.

Eighteenth-century London was a hotbed for instrumental arrangements, and many of these works were derived from the operas of George Frideric Handel (1685-1759). Thirty-one of his operas, in whole or in part, were arranged for recorder or flute, and there were over seventy keyboard transcriptions of the overtures to these operas. While the transcriptions of Handel overtures have been thoroughly examined, opera aria transcriptions have never received an appropriate level of study and analysis. The Ladys Banquet or The Lady’s Entertainment provides an excellent starting point. Not only does it include numerous opera aria arrangements, but its volumes were re-issued several times, suggesting a wide circulation. Its study raises a number of issues, including publication and authorship of Handel transcriptions, gendered music of the eighteenth century and analysis of opera transcriptions. The Ladys Banquet or The Lady’s Entertainment is a collection of six volumes of keyboard music published by John Walsh in the first half of the eighteenth century. The first two books were issued in 1704 and 1706 respectively, and included many undemanding pieces by fashionable composers such as Jeremiah Clarke (c.1674-1707) and Henry Purcell (1659-1695). The Third and Fourth Books followed in circa 1715 and 1716 and contain predominantly dance tunes and popular songs revised for the keyboard. When, in the early 1730s, the Fifth and Sixth Books appeared, the original four volumes were revised, and included wholly different material than the first editions. The publications of John Walsh are notoriously confusing owing to their lack of publication dates, repeated use of title pages, and misleading advertisements. The Ladys Banquet, as a whole, is especially bewildering because of the reissues of the collection and the changing repertoire. My research focuses on the Fifth Book of The Ladys Banquet, first printed around 1734, due to its abundance of opera aria transcriptions and consistency of content within editions. This document compiles relevant background information and offers a lucid guide to The Ladys Banquet. It provides historical context, examination and discussion of the contents of each volume, with specific details about the music in the Fifth Book, as well as analysis of the Handel aria transcriptions.