The dead painter's son is a two-act musical for the stage. Set in Atlantic City, New Jersey in the early 1940s, the story concerns an acclaimed magician's descent into insanity. The music mostly exhibits the styles of popular song and swing, while some sections employ polytonality and free atonality. What makes the musical unique is its blending of comedy with horror, as well as its complete authorship by one person; the book and lyrics are written by the composer. / text

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2018-03-19T18:20:51Z No. of bitstreams: 1 Albertino Lima2.pdf: 1005509 bytes, checksum: 2e41800ff4634dbf8a1d1d8c96c31fac (MD5) / Made available in DSpace on 2018-03-19T18:20:51Z (GMT). No. of bitstreams: 1 Albertino Lima2.pdf: 1005509 bytes, checksum: 2e41800ff4634dbf8a1d1d8c96c31fac (MD5) Previous issue date: 2017-09-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The presente dissertation aims to foster a centralized study on the character Simon, stigmatizated as magician by Early Christian Literature. To do that we will highlight the character introduced at chapter 8 from the Apostle´s Acts and will take a look at him, above all from the Apocryphal Acts of Peter due to the fact that this texts offers a more comprehensive picture about Simon, his spells and his duels with Peter. For this, we will use as a method, the Carlo Ginsburg´s indoctrination paradigm. With the aim of proposing clarification on the subject, this research is divided in three parts: in the first moment, we will work on the historical aspects of magic, and their sociological and anthropological concepts. In the second moment, we will discuss the presence of magic in the Greco-Roman world and and it´s practices among the Early Christians. Lastly, in the third and final moment, we will present our research on Simon within Early Christian Literature and historiography. However, we will focus in analysis in the Acts Apocryphal of Peter. Our intent is to show a new image from Simon. Not of a simple magician, but the image of a threatening leader of Christian hierarchical structures who has public acclaimed and used it to present himself as a new proposal for the Christian Community. We intend with this research to contribute with, a new perspective on the character Simon who is as important for Christian historiography as the other apostles. / A presente dissertação tem como proposta fomentar um estudo centralizado no personagem Simão estigmatizado como mago pela literatura cristã primitiva. Para isto, destacaremos o personagem apresentado no capítulo 8 de Atos dos Apóstolos e lançaremos um olhar sobre ele a partir dos Atos Apócrifos de Pedro, devido ao fato que este texto oferece uma imagem mais abrangente acerca de Simão, suas magias e seus duelos com Pedro e, para isto, utilizaremos como método o paradigma indiciário de Carlos Ginzburg. Com o intuito de propor um esclarecimento maior sobre o tema, esta pesquisa é dividida em três momentos. No primeiro momento, trabalharemos os aspectos históricos sobre a magia e os seus conceitos entre sociólogos e antropólogos. No segundo momento, dissertaremos sobre a presença da magia no mundo greco-romano e suas práticas entre os primeiros cristãos. Por fim, no terceiro e último momento apresentaremos a nossa pesquisa sobre Simão dentro da historiografia e da literatura cristã primitiva. No entanto, faremos o nosso foco final sobre os Atos Apócrifos de Pedro. Nosso objetivo será mostrar uma outra imagem de Simão, não de um mago pejorativamente, mas de um líder ameaçador das estruturas hierárquicas cristãs que possui uma aclamação pública e usa dela para apresentar-se como uma nova proposta para a comunidade cristã. Pretendemos com essa pesquisa contribuir com uma nova perspectiva sobre o personagem Simão que é tão importante para a historiografia cristã quanto os demais apóstolos.

This diploma thesis is focused on the analysis of the most well-known industrial protocols and acquaintance with the Dobot Magician robotic arm. The main goal of this thesis is to create an industrial loop, which consists of communication – client and server. The individual components of the industrial loop consist of three robotic arms (including peripherals), their control units (in our case Raspberry PI 3B +), switch, and a server. The control units communicate with the server using two selected industrial protocols, namely Modbus TCP and EtherNET/IP. The result of the work is an endless loop, which tries to resemble the real operation of the assembly and disassembly of the box equipped with dierent items.

By the late nineteenth and early twenty century both the United States and Europe were experiencing massive shifts in social organization, social attitudes, and global influence due to the effects of the industrial revolution and imperialistic expansion. This birth of a public sphere and the mass entertainment industry was related to a blurring of the lines between traditional social classes. Mass entertainment's growth was directly related to the need to attract large audiences with entertainment that appealed in some way to a broad spectrum of the populace. At the same time, stage illusionists or magicians were one of the most recognizable stars of mass entertainment. In fact, they were in the midst of what has been termed the “Golden Age” of magic. By recognizing the popularity of their performances in the United States and Europe, this thesis will use them as a reflection of historical trends and popular attitudes in areas such as romanticism, secular/technical superiority, race, and gender. Historians, like Lawrence Levine, have produced a number of historical studies in regards to performance art, mass entertainment, and the historical implications represented in entertainment. Previous studies of magicians during the time period have been primarily biographical or technical in nature. It is only recently that historians have begun to combine the two in regards to performance magic. This thesis will combine previous research on the historical narrative of the time from authors such as Leon Fink, Sean Cashman, and Alan Trachtenburg in order to analyze how magical performances confirm conclusions reached by previous work on the historical context of these performances. The themes that are addressed within this work begin with the birth of mass entertainment, the need for an act with mass appeal to attract audiences, and how the mass entertainment displays a blurring of class lines. It will expand on work by Daniel T. Rogers in explaining how these trends were not exclusive to the United States or Europe and were actually a transatlantic phenomenon. It will use Simon During to explain how magicians, with roots in folk culture, became stars on the stage because of their appeal and their unique position in performance art. It will add to work by authors such as Lawrence Levine, showing how magicians needed to perform acts for mass consumption by working class, middle class, and upper class individuals. Finally, it will use magical performances as text to reflect social attitudes of the time period much in the way that authors such as Eric Green or Katherine Prince have done in their work.

Growing up in a bicultural household, navigating the F train as well as mountain creeks, studying culture and then participating in its production, these are some of the idiosyncrasies that I bring to my work. My investigations are rooted in combining a rediscovery of the sensuousness of the natural world and an investigation of the poetics of everyday life. Choosing materials and situations within the realm of the everyday, I'm interested in a transformation that suggests the infinite potential and worth in all things. The resulting objects have identities as complex as my own. They are ridiculous and serious, normal and magical, and confident in their awkwardness. This document was created in Microsoft Word X for mac.

Where the Dead Remain is a murder mystery set in a Post-Katrina New Orleans where the gods, magic and monsters of various world mythologies actually exist. The story follows a week in the life of Jude Duboisson, a once magician who is struggling with the loss of his magic and the life he had known in the wake of the storm, as he is pulled out of his torpor and into the affairs of the mighty once again. He is tasked with discovering who murdered Dodge Renaud, the fortune god of New Orleans. What he discovers, though, are some surprising truths about the fundamental nature of things: about loss, about New Orleans, and about himself.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2018-03-20T16:13:29Z No. of bitstreams: 1 RobsonAlmeida.pdf: 950170 bytes, checksum: e52e90d091990a500d026e77e72d94ae (MD5) / Made available in DSpace on 2018-03-20T16:13:29Z (GMT). No. of bitstreams: 1 RobsonAlmeida.pdf: 950170 bytes, checksum: e52e90d091990a500d026e77e72d94ae (MD5) Previous issue date: 2017-09-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This written work aims to addres the theme of Magic in the Mediterranean World at the period of Early Christianity. The Magic, wich, by its supernatural caracther, arouses interest and show the ways of relationship between human and sacred, at the same time that reveals several tensions and comprehensions about the popular religion´s practice. So, we construe the relationship between Magic and Miracle as so as the relationship of Magic and Religion. For this, we approach texts of Magic duels at canonical narratives, like Acts Of The Apostles 8. 4-25, that show common elements with the imagination of Early Christianity wich increase the tensions beteween Magicians and Apostles and enrich the presence and importance of the themeof Magic in the Mediterranean culture at the first centuries of the Christian Era. Especially in the face of this rivarly between thaumaturges, we can see the danger that Magic represented to the nascent Christianity and its identity in formation and the stratchs that the Magic bring for the teaching of the Apostles. So, after to broach the Magic elements at different narratives, we turn our attention to the Acts of Apostles, looking for the understanding of the importance of Luke´s narrative for the community of Early Christianity, especially in relation to the stricking and historical figure of Simon, The Magician. Simon was identified, historically, like the prototype heretic, Gnosticism´s father and Christianity´s corrupter, having borrowed his identity to represent all the way of corruptions of the apostolic teatching and ethical and moral deviations in the course of ecclesiastical history / Este trabalho tem como objetivo abordar o tema da magia no mundo mediterrâneo no período do Cristianismo Primitivo. A magia que, por seu caráter sobrenatural, desperta interesse e apresenta as formas de relação entre o humano e o sagrado, ao mesmo tempo em que revela diversas tensões e compreensões a respeito da prática da religiosidade popular. Deste modo, analisamos a relação entre magia e milagre e, também, sua relação com a religião. Para isso, abordamos textos de duelos mágicos tanto em narrativas canônicas, como Atos dos Apóstolos 8.4-25, quanto apócrifas, como Atos de Pedro, que apresentam elementos comuns ao imaginário cristão primitivo reforçando a tensão entre magos e apóstolos, e valorizando a presença e importância do tema na cultura do Mediterrâneo nos primeiros séculos da era cristã. Especialmente, diante dessa rivalidade entre taumaturgos, observamos o perigo que a magia representava em relação ao cristianismo nascente, para sua identidade em formação e o risco que esta oferecia para o ensino dos apóstolos. Assim, após abordar os elementos mágicos em diversas narrativas, voltamos nossa atenção ao texto canônico de Atos dos Apóstolos buscando compreender a importância da narrativa lucana para a comunidade do cristianismo nascente, especialmente em relação à figura marcante e histórica de Simão, o Mago. Simão, historicamente, foi identificado como o protótipo do herege, pai do gnosticismo e corruptor do cristianismo, tendo sua identidade “emprestada” para representar toda forma de corrupção dos ensinamentos apostólicos e desvios éticos e morais no decorrer da história eclesiástica.

For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.

This work will consist of an analysis of the book The Three Halves of Ino Moxo and other wizards of the Amazon (Tres mitades de Ino Moxo y otros brujos amazónicos) written by the Peruvian writer César Calvo. It will mainly focus on the author's attempt to understand the different and wrongfully underestimated spiritual world of the Amazonian Indians. Firstly, it will briefly introduce the author and mention the situation in Peruvian literature of the time. It will then look at the context in Latin American literature and will point out the common aspects of the book with novels of the jungle, with indigenist literature, and with the novels of magic realism and marvelous real. The core of the work will lie in the interpretation of the text. It will try to answer the question on the genre of the book and will then define its composition. Of particular importance will be the chapter on style, which will analyse in details the lyrical character of this prose. It will give evidence of the frequent use of poetic figures in the book by presenting examples thereof. It will look at the way of creating time and space. The thematic analysis will capture particular topics from the viewpoint of the world of the Amazonian Indians by looking at the conception of its typical characters. The work will lead to an...

In this dissertation I examine the role played by the ancient Near Eastern serpent in apotropaic and prophylactic magic. Within this realm the serpent appears in roles in healing and protection where magic is often employed. The possibility of positive and negative roles is investigated. The study is confined to the Bronze Age in ancient Egypt, Mesopotamia and Syria-Palestine. The serpents, serpent deities and deities with ophidian aspects and associations are described. By examining these serpents and deities and their roles it is possible to incorporate a comparative element into his study on an intra- and inter-regional basis. In order to accumulate information for this study I have utilised textual and pictorial evidence, as well as artefacts (such as jewellery, pottery and other amulets) bearing serpent motifs. / Old Testament & Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)