Thesis (M.A.)--University of Toledo, 2009. / Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Arts Degree in Philosophy." "A thesis entitled"--at head of title. Bibliography: leaves 54-55.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves 54-56).

Orientador: Lucia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-01T14:40:07Z (GMT). No. of bitstreams: 1 Nagib_Lucia_M.pdf: 17060929 bytes, checksum: 47bd60b7e547d9e76b3a9529be21801f (MD5) Previous issue date: 2001 / Resumo: Estabelecendo diálogos entre a obra de Jean-Luc Godard e o trabalho de teóricos, cineastas, críticos, filósofos, romancistas, etc., esta dissertação pretende abordar,num texto polifônico, algumas das características centrais do cinema moderno do pós-guerra / Mestrado / Mestre em Multimeios

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There is a strong concern about the environmental and social impacts ­­­of land use changes caused by sugarcane expansion. This research aims to assess the land use changes caused by sugarcane expansion in the State of São Paulo in the last five years, as well as predicting land use changes in the coming years. In addition, this research evaluates the social impacts of sugarcane expansion. The assessment of land use changes was made through GIS analysis. First, the changes during the last five years were evaluated. Based on this information, the land use changes for the coming years were estimated. The social impacts of sugarcane expansion were evaluated by studying the correlation between Human Development Index (HDI) and the sugarcane expansion. The results confirm that sugarcane crop expanded about 1.85 million hectares between 2003 and 2008. About 62% of this expansion replaced areas used for agricultural crop in 2003, and about 34% replaced areas used for pasture in 2003. Three scenarios were created in order to estimate sugarcane expansion in the coming years. In the first scenario, sugarcane would expand about 0.9 million hectares in three years; in the second scenario, 1.1 million hectares in four years; and in the third scenario, 1.4 million hectares in six years. In each scenario, about 70% of the expansion would take place in areas used for agricultural crops in 2003, and 40% in areas used for pasture in 2003. The sugarcane expansion caused a significant and positive impact on the income dimension of HDI for regions with a very low level of development. For regions of medium and high level of development, the HDI impact was not significant. In addition, a slightly negative impact on the longevity dimension of HDI was observed.

In this essay I explore some of the theological consequences of Jean-Luc Marions antimetaphysical philosophy of religion. Inspired by Heidegger and Nietzsche Marion works from the definition of metaphysics as "onto-theology". This means that the western metaphysical tradition from at least Fransisco Suarez made the fundamental mistake of conflating the being of God with the beingness of created beings. This was done in an attempt to give an all-encompassing general description of the world in one universal science. In this science God as Causa Sui (the self caused cause), functions as the first efficient cause of the world. The result from this thinking was according to Marion that God became limited to the conditions of the study of Being. God became knowable as a being. In this process the worry is that theologians lost a sense of wonder for the divine and God became more of a necessary piece in the rational universe. According to Marion this "God of the philosophers and savants" can no longer be the revealed God that judaism and christianity has confessed to but an idol created in the image of man. Therefore, Marion goes on the search for the “God beyond Being”, the God who is infinitely different and other than his creation. One can describe Marions project as exercises in apophatic or “negative” theology with the tools of phenomenology. All of which aims at describing something at the center of faith that he believes it is impossible to completely describe, and that the attempt to do so will not get you closer to what you are looking for but actually further away. For him metaphysics represents the hubris of conforming everything, and thus also God, to the conditions of man. And this can only make idols in mans own image, never reach the divine. How then does God show himself? This is answered by Marion with his description of “saturated phenomena”. Phenomenologically speaking everything that shows itself gives itself. Man is not the starting point nor the condition of possibility of what can show itself. God can thus give himself completely, without limit, and man experiences God without fully being able to make sense of the encounter. This encounter is the saturated phenomenon par excellence. Theologically speaking Marion pinpoints the encounter with God in what for him is the very center of the christian revelation namely the celebration of the eucharist which he describes as the hermeneutics of the eternal Word by itself. The theological/phenomenological vision of Marion has been wildly debated. In this essay I explore some critical responses to Marion from the english speaking world with a focus on his theological thinking. To do this I chose to present the main critical points made in respons to Marion by John Milbank, Graham Ward, Bruce Ellis Benson and James K.A. Smith. This critique is then discussed under three headings “embodiment”, “the divinity of Christ” and “knowledge of God”. In my judgment some of the critical points raised loose their force as they ignore the definitions Marion explicitly lays out and read too much into his discussions of the role of metaphysics in theological discourse. I also try to show that some of the critique becomes strange when one places Marion in the context of a self professed Roman Catholic whose theology reasonably should be seen as a contribution to (at least) that living tradition. Other times it is hard to asses Marions thought and the critique as you can choose what types of descriptions to emphasise and what to downplay. This is especially an issue with respect to what Marion calls the icon and its functions. Some of the critical points do seem valid to me and pose serious questions to Marions project as a whole, especially the way Marion wants to place knowledge of the divine in a separate category than other knowledge and the consequences this has for our ability to know and speak about God. In most Christian epistemology the inability for humans to know God is simultaneously because God is other than us and also because of sin, but this distinction is seemingly lost in Marions thought. Another difficulty is how to describe Jesus Christ as the incarnation of “God beyond being”. The tendency of Marion is to emphasise the hidden presence of God in Christ in such a strongly kenotic language that his theology runs the risk of falling into docetism.

Thesis advisor: Andrew L. Prevot / Thesis advisor: André Brouillette / The philosopher Jean-Luc Marion presents a phenomenological approach to the Trinity. He criticizes traditional trinitarian theology based on metaphysics in that it fails to resolve the intrinsic contradiction between the unicity of the one God and the plurality of the persons of the Trinity. He proposes, rather, 'trinitarian revelation'; in this, Jesus Christ, the par excellence revelation, unveils the Father, while the Holy Spirit guides the beholder to see the icon of the Son from the proper perspective. This anamorphosis model overcomes the limitations of the metaphysical theology of the Trinity; it stresses that the beholder sees the sole visibility of the Son and appreciates the communion of plurality in charity within the mutual relationships of the persons of the Trinity. One of the outstanding points of Marion's phenomenological approach to trinitarian revelation, moreover, is that the viewer is involved in triune God's unveiling. Believers can experience 'trinitarian revelation' through praying personally and participating in the sacraments of the Church. In this conversation of the perspective, they receive the gifts of sacrifice, forgiveness, and communion as the manifestation of the communion of charity among the persons of the Trinity. Paradoxically, as with the communion within the Trinity, these gifts are not directed inwardly to the individual believer, but they are gifts to be given out to others. This is how God reveals himself in Marion's trinitarian mode and how we participate in that revelation of triune God. / Thesis (STL) — Boston College, 2023. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Marie, le paradigme de foi de la Nouvelle Alliance Luc exprime sa théologie à travers la narration, rendant l'analyse de ses techniques narratives fort utile pour découvrir les thèmes de son œuvre ainsi que les relations entre eux. L'analyse narrative est particulièrement fructueuse dans les deux premiers chapitres du troisième évangile, sept épisodes entrelacés de matériel exclusif à l'auteur, connu comme le « prologue de l'enfance ». Racontant les naissances parallèles de Jean et de Jésus, ce prologue relie les deux Testaments, montrant que ces naissances miraculeuses sont le début de l'accomplissement des promesses anciennes. Celles-ci annonçaient les ministères de Jean et de Jésus dans lesquels les promesses s'accompliraient pleinement. Ces récits sont structurés par un cadre de promesses et d'accomplissements auquel les acteurs humains répondent selon divers degrés de foi et d'interprétation juste. Non seulement le prologue met-il en valeur l'action divine, la gloire et l'humilité paradoxale de l'incarnation, mais on y retrouve aussi l'axe de la réponse humaine. En effet, tout comme la réponse de foi d'Abraham à la promesse divine fait de lui le père de la première Alliance, la réponse de foi de Marie à une promesse sans précédent et encore plus impossible fait d'elle le modèle de croyant de la Nouvelle Alliance. Dans la seconde phase du prologue, Marie demeure modèle par son choix de méditer. À travers plusieurs techniques narratives, l'évangéliste invite le lecteur à s'identifier à ce personnage humble et empathique. Entourée d'une constellation d'anciens vénérables, dignes représentants du meilleur de l'Ancienne Alliance (Zacharie, Élizabeth, Siméon et Anne) la jeune Marie brille comme le paradigme du croyant de la Nouvelle Alliance qui reconnaît la grâce de Dieu, embrasse sa promesse et médite longtemps sur tout ce qui la bouleverse et l'émerveille de l'action divine, la repassant et la conservant dans son cœur. / Mary, the paradigm of the New Testament believer Luke expresses his theology through narration, making close attention to his narrative techniques essential to discover both his major themes and the relations between them. Narrative criticism is particularly useful in the first two chapters of the third gospel, seven interwoven episodes of material exclusive to this gospel, known as Luke's "infancy prologue". Recounting the parallel births of John and Jesus, the prologue looks both back to the Old Covenant hopes and forward to the ministries of John and Jesus to show that these births are answers to the ancient promises. The stories of John and Jesus are structured around a framework of promise and fulfillment to which human actors respond with varying degrees of faith and correct interpretation. In addition to showcasing divine visitation, and the paradoxical glory and humility of the incarnation, the prologue develops the axis of the human response. Just as Abraham's response of faith to the divine promise makes him the father of the covenant people, so Mary's response of faith to an even more impossible and unprecedented promise makes her the first of the new covenant people. Mary's faith shines brightly after Zachariah's doubt; it is praised by spirit-filled prophecy, expressed in song. In the second phase of the prologue, through several narrative techniques, the narrator invites identification with this humble and empathetic character, especially in her choice to ruminate what she cannot fathom. Surrounded by a constellation of venerable elders, representatives of the best of the Old Covenant--Zechariah, Elisabeth, Simeon and Anne--young Mary shines as the believer of the New Covenant who recognizes the undeserved favour of God, embraces his promise and chooses to treasure all that amazes and overwhelms her of divine action in her life.

Na bibliografia brasileira, Jean-Luc Godard aparece com destaque em pesquisas sobre o cinema brasileiro moderno e sobre a história da censura cinematográfica no país. O realizador franco-suíço é descrito como uma referência fundamental para alguns cineastas brasileiros modernos, como um norteador dos debates travados em nossa crítica e como um objeto de atenção especial por parte dos censores da ditadura militar. Partindo desse lugar privilegiado conferido a Godard, esta pesquisa investigou historicamente a recepção e a interdição dos filmes do cineasta no Brasil no período entre 1961 e 1970. Em um primeiro momento (capítulos 1 a 3), analisamos os debates estéticos e políticos suscitados na crítica pelos filmes de Godard em três jornais de grande veiculação do período (Correio da manhã, Jornal do Brasil e O Estado de S. Paulo); em seguida (capítulo 4), identificamos as apropriações que os críticos-cineastas Glauber Rocha e Rogério Sganzerla realizaram da obra godardiana em seus escritos; e, por fim (capítulo 5), abordamos a documentação censória relativa aos filmes do realizador. Dessa maneira, constatamos o importante papel que Godard desempenhou na conformação do cinema brasileiro moderno, bem como o impacto que sua obra exerceu, cultural e politicamente, no país. Conforme evidenciaremos, naquele momento havia uma conjuntura sociocultural modernista, de esquerda e jovem que favoreceu a recepção do cineasta no Brasil. Ao mesmo tempo em que foi lida à luz de tal conjuntura, a obra godardiana atuou enquanto seu catalisador, estimulando novos projetos e debates em seu interior. O cineasta foi instrumentalizado por projetos de vanguarda no cinema e em ouras artes, estimulou a politização de esquerda e dialogou com os anseios de uma cultura jovem e libertária em expansão. Paralelamente, confirmamos a atenção especial que Godard recebeu dos censores da ditadura militar brasileira. Afinal, a ditadura se opunha a tal conjuntura e, por isso, viu no cineasta um perigo a ser combatido, uma vez que seus filmes atentavam contra os dois pilares básicos da ideologia que norteava o regime, o anticomunismo e a moral conservadora. Conforme demonstraremos, tal atenção especial se deu sobretudo nos anos 1970, mas teve suas raízes em 1968, quando duas películas de Godard foram interditadas e uma imagem extremamente negativa do realizador foi consolidada no órgão censório. / In the Brazilian literature, Jean-Luc Godard appears prominently in researches on modern Brazilian cinema and on the history of cinematographic censorship in the country. The Franco-Swiss director is described as a fundamental reference for some modern Brazilian filmmakers; as a guiding force on the debates held within our critique; and as an object of special attention by the censors of the military dictatorship. From this privileged place conferred to Godard, this research historically investigated the reception and interdiction of his films, in Brazil, between 1961 and 1970. First (Chapters 1 to 3), we analyze the aesthetic and political debates raised in criticism of Godard\'s films in three major newspapers of the given period (Correio da manhã, Jornal do Brasil and O Estado de S. Paulo). Then (Chapter 4), we identify the appropriations of the Godardian word made by the critical-filmmakers Glauber Rocha and Rogério Sganzerla. Finally (Chapter 5), we approach the censorship documentation relating to the director\'s films. Our findings showed the important role Godard played in the conformation of modern Brazilian cinema, as well as the impact that his work exerted, culturally and politically, in the country. As we will show, the socio-cultural context of the time modernist, leftist and youthful favored the filmmakers reception in Brazil. At the same time as it was read in the light of such a conjuncture, Godard\'s work acted as a catalyst for it, stimulating new projects and debates within. The filmmaker was instrumented by avant-garde projects in the cinema and in other arts, and then stimulated the politicization of the left and dialogued with the yearnings of a young and libertarian culture in expansion. We also found evidence of the special attention that Godard received from the censors of the Brazilian military dictatorship. Opposed to the referred conjuncture, the dictatorship saw in the filmmaker a danger to be fought, since his films were against the two basic pillars of the regime: anticommunism and conservative morality. As we will show, he received such special attention mainly in the 1970s, but it had its roots in 1968 when two of Godard\'s films were banned and an extremely negative image of the filmmaker was consolidated by the censorship.