In the last few decades, some scholars have questioned the moral value of forgiveness. They have argued that in order for a victim to preserve his self-respect, to not condone the wrongdoing, and to avoid unjustly pardoning the offender, he must consider forgiving only after the offender has satisfied specific conditions that have been demanded of him. Forgiveness, they claim, is morally permissible only when it is given conditionally. Unconditional forgiveness cannot be virtuous. This dissertation addresses the issues surrounding this claim. I argue that Forgivingness, which is the virtue associated with forgiving, causes its possessor to reliably offer unconditional forgiveness to every person who offends him. Further, I contend that instances of forgiveness, arising from or contributing to the development of this virtue, are never morally impermissible even though their moral quality may not be ideal. To support my thesis, I develop a model of Forgivingness that represents it as a multi-faceted virtue of cognitive, affective, motivational, and action components that, independently of the actions and attitudes of the offender, produce unilateral, unconditional forgiveness. I describe Forgivingness’s dependency on the characteristic of moral love—a quality that values an offender’s ultimate moral good and ideal self, displays good will towards him, and assimilates the virtue of self-forgetfulness into the possessor’s deliberations, desires, and actions—and explain the virtue’s relationship to ancillary or homologous emotions including hope, humility, magnanimity, and anger. I then defend the forgiveness that multi-faceted Forgivingness produces against criticisms that are commonly levied against unconditional forgiveness. In doing so, I reinforce a theme that runs throughout the entire work—that is, that virtuous forgiveness is distinct from minimal forgiveness. When relevant, I show the weaknesses in minimal forgiveness so as to emphasize the moral strength and beauty of virtuous forgiveness. Further, I distinguish virtuous forgiveness from forgetting, reconciliation, and excuse-making and explain how it can be compatible with disciplining the offender. Consequently, I demonstrate why virtuous forgiveness that is given according to my model of the virtue is immune to the criticisms that may be relevant to other forms of forgiveness.

Thesis (M. Div.)--Emmanuel School of Religion, 2006. / Vita. Includes bibliographical references (leaf 41).

Submitted by CLAUDIA PARRA null (cla_parra@hotmail.com) on 2016-03-18T17:08:22Z No. of bitstreams: 1 Texto final.pdf: 3519088 bytes, checksum: d357387adaed832b2e20a3e4ae3bbbdb (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-03-22T12:38:37Z (GMT) No. of bitstreams: 1 parra_c_me_sjrp.pdf: 3519088 bytes, checksum: d357387adaed832b2e20a3e4ae3bbbdb (MD5) / Made available in DSpace on 2016-03-22T12:38:37Z (GMT). No. of bitstreams: 1 parra_c_me_sjrp.pdf: 3519088 bytes, checksum: d357387adaed832b2e20a3e4ae3bbbdb (MD5) Previous issue date: 2016-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Uma vez que a cultura nacional irlandesa tem formado uma concepção imaginária de identidade, isso afeta também a imagem da mulher. O drama irlandês tem contribuído muito para o debate e revisionismo sobre a identidade irlandesa e, no século XX, a Revolta da Páscoa em 1916 foi escolhida como contexto por alguns dramaturgos irlandeses pra promover uma reflexão sobre essa questão. Sean O’Casey e Tom Murphy apresentaram versões da Revolta da Páscoa nos palcos do Abbey que abordaram a identidade da mulher irlandesa em um contexto nacionalista. Uma comparação desses dois textos dramáticos revela que, embora os dramaturgos tenham usado estratégias diferentes, ambos reavaliaram a imagem feminina promovida pelo nacionalismo irlandês. / Ireland’s particular national culture has shaped an imaginary conception of identity which has also affected the image of women. Irish drama has contributed significantly to the debate on and revisionism of Irish identity and, in the twentieth century, the Easter Rising in 1916 was chosen by some Irish playwrights as a background to promote reflection on this question. Sean O’Casey and Tom Murphy presented versions of the Easter Rising on the Abbey stage which approached the identity of Irish women in a nationalistic context. A comparison of these two dramatic texts reveals that, although the playwrights used different strategies, they both reassessed the female image promoted by Irish nationalism.

Made available in DSpace on 2015-03-26T13:46:40Z (GMT). No. of bitstreams: 1 texto completo.pdf: 2057820 bytes, checksum: 0cb5f0c3fdc5c5044b76d4c489d4ae15 (MD5) Previous issue date: 2009-02-27 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Thirty eight cases of canine leproid granuloma (CLG) were diagnosed between 2000 and 2008. Diagnosis was based on clinical and histopathological findings along with acid fast bacilli in skin sections. The lesions included papules, plaques and nodules, with or without ulceration, localized mainly on the pinna. Boxers, short haired and large breeds dogs were the most affected. The dogs were otherwise healthy, with no recurrence, and the prognosis was good. Histopathological findings included a nodular to diffuse granulomatous or pyogranulomatous and lymphoplasmocytic inflammatory infiltrate, with or without necrosis, localized in the dermis or subcutaneous tissue. The bacillar loading and morphology were variable among lesions. There were not significant correlations between bacterial load and histopathological pattern, main inflammatory infiltration, necrosis or the numbers of giant cells. Correlation between giant cells and histopathological pattern was not observed as well. In the majority of cases, PCR assay identified Mycobacterium murphy as the main etiologic agent for the CLG. However, others Mycobacterium species were also involved as causative agent. / Foram analisados 38 casos de granuloma lepróide canino (GLC) diagnosticados no período entre 2000 e 2008. O diagnóstico baseou-se nos achados clínicos e histopatológicos, com a detecção de bacilos álcool ácido resistentes nos fragmentos cutâneos. As lesões incluíram pápulas, placas, nódulos, tumores dérmicos e subcutâneos, ulcerados ou não, localizados principalmente na superfície convexa dos pavilhões auriculares. Os cães da raça Boxer, aqueles de pelagem curta e de grande porte foram mais acometidos. Os animais eram sistemicamente saudáveis e o prognóstico foi favorável, sem recidiva das lesões. A histopatologia demonstrou padrão nodular a difuso, com infiltrado inflamatório predominantemente granulomatoso ou piogranulomatoso e linfoplasmocitário, na derme e tecido subcutâneo, com ou sem necrose, e bacilos em quantidade e morfologia variáveis. Não foi verificada associação estatística significativa entre a quantidade de bacilos com o padrão histopatológico, com o infiltrado inflamatório predominante, com a necrose ou com a quantidade de células gigantes. Também não foi observada associação entre a quantidade de células gigantes e o padrão histopatológico. A reação em cadeia de polimerase e o sequenciamento genético parcial do gene 16srRNA identificou Mycobacterium murphy na maioria dos casos. Outras micobactérias, ainda não descritas na literatura, também foram encontradas nas lesões, sugerindo maior diversidade de espécies envolvidas no GLC.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / Our objective is to visualize how Beckett show us the ideas explained before in “Murphy” and how he configured them and gave them form through the story and the characters. In order to do so, we will support our analysis with the concepts presented by the theory of chaos and the ideas developed by Jacques Derrida in his theory of Deconstruction. All this in order to understand the phenomena of contradiction presented as the central element in the novel. We also will see how the symbolism present in the novel is used as a way to reinforce and clarify this phenomenon and finally we will be able to see how we can identify our human condition through this novel.

No description available.

No description available.

No description available.

No description available.

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Le présent mémoire de maîtrise porte sur le rôle du déchet comme matériau dans la création de trois artistes contemporains. Les artistes étudiés viennent de trois pays différents qui ne connaissent pas le même stade de développement économique ce qui influence le statut du déchet au sein de chacune de ces cultures. Le premier artiste, El Anatsui, est né au Ghana et vit présentement au Nigéria. Sa série Cloth est composée de sculptures flexibles, construites à partir de bouchons de bouteilles en aluminium, qui font référence aux étoffes traditionnelles kente et adinkra. Le second artiste, Vik Muniz, est d’origine brésilienne et vit à New York. Son œuvre, Pictures of Garbage (2008), est une série de portraits des résidents de Jardim Gramacho, faits de déchets et citant de célèbres tableaux de l’histoire de l’art. Le troisième artiste, Serge Murphy, est né et travaille à Montréal. Son installation, Rien de tout cela, est composée d’objets trouvés, recyclés et de matériaux à l’état brut. L’œuvre, présentée en deux versions différentes (2008 et 2009), reprend l’idée du cabinet de curiosités et remet en cause les notions d’authenticité, d’originalité et d’intégrité. Ces trois artistes favorisent une réflexion sur le déchet en l’incorporant dans leur démarche artistique comme un élément digne d’être montré et non comme un objet rejeté qui doit être retiré du regard. Nous les verrons à travers une double opération de recyclage de la matière rejetée et d’éléments abstraits (notion, tradition) qui permettent la transformation du déchet en objet d’art : chez El Anatsui, la reprise d’une forme (étoffe traditionnelle kente) et du matériau; chez Vik Muniz, la reprise d’un référent (citations d’œuvres occidentales) et du matériau; et chez Serge Murphy, la reprise d’une tradition (cabinet de curiosités), de l’œuvre elle-même (auto-recyclage) et du matériau. / This Master’s thesis focuses on the role of waste as a material in the works of three contemporary artists. The artists studied come from three different countries that do not have the same level of economic development which influences the status of waste in each of these cultures. The first artist, El Anatsui, was born in Ghana and currently lives in Nigeria. His Cloth series consists of flexible sculptures made of aluminum bottle caps that refer to traditional kente and adinkra cloth. The second artist, Vik Muniz, is Brazilian-born, but currently lives in New York. His work Pictures of Garbage (2008) is a series of portraits of the residents of Jardim Gramacho made from waste and quoting famous paintings in the history of art. The third artist, Serge Murphy, was born and works in Montreal. His installation Rien de tout cela consists of found objects, recycled and raw materials. The two versions of this work (2008 and 2009) take the idea of the cabinet of curiosities and question notions of authenticity, originality and integrity. These three artists promote a serious thought on waste by incorporating it in their artistic approach as a material worthy of being shown and not as a rejected object which must be removed from sight. We will study them within a dual process of recycled material and abstract elements (concept, tradition) that allow the transformation of waste into art: the recovery of a form (traditional kente cloth) and the material in El Anatsui; the resumption of a referent (citations of Western works) and the material in Vik Muniz; and, the recovery of a tradition (cabinet of curiosities), the work itself (auto-recycling) and the material in Serge Murphy.