El nuevo palacio del Retiro (1634), El cubo de la Almudena (1651), La devoción de la misa (1658), and El santo rey don Fernando (first and second parts, 1671) are works of a religious literary genre unique to Spain: the auto sacramental. Until recently, such plays have suffered a lack of critical attention, possibly due to their complicated theological focus. Pedro Calderón de la Barca (1600-1681), the master of this genre, is the author of nearly eighty of these one-act works celebrating the Eucharist. Of these, the most studied are those using biblical and mythological characters. Calderón's autos which use Spanish historical figures, such as the above five, have been the object of extremely few studies. Most of these analyses remain at a superficial level, focusing on the works' historical contents, rather than their central spiritual elements. These works illustrate the cosmography of the time and place of their conception. To uncover these autos' full meaning, it is necessary to interpret all other theatrical components in light of these works' primary topic: the Eucharist. Throughout El nuevo palacio del Retiro, El cubo de la Almudena, La devoción de la misa, and both parts of El santo rey don Fernando, the historical elements are framed by the spiritual. In the first, a competition in which the king participates is presented as an image of the transformation of Christ into the Eucharist. In the second, a historical Muslim siege of Madrid is used to assert the victory of Spain against historical and spiritual foes through the Sacrament. The third presents the devotion of a legendary soldier to the Mass as the source of victory in a historical battle. The two autos written on the occasion of the canonization of the medieval King Fernando III combine historical, legendary, and fictitious events to illustrate temporal and eternal victories through the Sacrament. As is evident in a more than superficial study, in these five autos, Calderón modifies history in order to convey an eternal message. / text

This thesis analyzes the development of national justice processes in Uganda in the wake of war in order to address key theoretical dilemmas that have recently emerged in the field of transitional justice. I focus on closely connected debates over the exclusion of socioeconomic justice, the relationship between international, national and local actors, the role of transitional justice discourse, and ultimately, the future of the field itself. Based on fieldwork undertaken in Kampala, the Acholi district and the temporary international arena created in Kampala for the 2010 ICC Review Conference, this thesis traces the role of local, national and international actors in the war itself, the search for peace, and the current post-conflict period. I examine the ways in which actors at all levels narrate the northern conflict and accordingly negotiate and contest the nature, scope and course of post conflict justice. I argue that the struggle for a meaningful approach to transitional justice is global in dimension. The power to define and perform postwar justice is concentrated in the hands of the state. A high risk persists that Uganda's transitional justice policy will prove an empty performance of 'victor's justice.' International and domestic actors alike have shaped and justified the Ugandan Government's self-interested approach and facilitated the dominance of international criminal justice. Conversely, civil society actors at all levels in Uganda draw on transitional justice as a radical language of resistance to fight for meaningful change. As long as it fails to address socioeconomic issues and structural violence however, transitional justice discourse will ultimately fall short of giving political voice to local priorities, and activating long-term social transformation. I argue that the field of transitional justice must be re-envisioned to embrace socioeconomic justice, in order to impel the endless pursuit of a just society. This task will require the collective efforts of a global constellation of actors.

Thesis (Ph. D.)--Concordia Seminary, St. Louis, 2005. / Includes abstract and vita. Includes bibliographical references (leaves 345-377).

Thesis (Th.M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [45]-49).

Thesis (M.A.)--Catholic Theological Union at Chicago, 1993. / Vita. Author listed on microfiche header as Therese M. Purcell. Includes bibliographical references (leaves 113-119).

Thesis (M.T.S.)--Catholic Theological Union at Chicago, 1993. / Vita. Includes bibliographical references.

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract. Includes bibliographical references (leaves 155-166).

Münchener Universitäts-Schriften. Theologische Fakultät. / Revision of author's thesis, Munich. Bibliography: p. [ix]-xi.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 1996. / Includes abstract dn vita. Includes bibliographical references (leaves 284-292).

Thesis (D. Min.)-- Boston University, 1998. / Abstract. Includes questionnaire submitted to the author's [Baptist] congregation. Includes bibliographical references (leaves [146]-149).