Indiana University-Purdue University Indianapolis (IUPUI) / Secrets and silence appear frequently in the work of Toni Morrison. In three novels, The Bluest Eye, Jazz, and Paradise, she repeats a specific phrase that acts as a signal to the reader. Morrison three times writes, “Quiet as it’s kept” in her novels to alert readers to the particular significance secrets and silence play in these novels. Morrison portrays this secrecy and silence as a barrier to building strong communities and even a strong self-identity. While the phrase appears in the same form, with each subsequent appearance, Morrison takes the idea a step further. In each novel she demonstrates how breaking the silence and refusing to keep quiet is an act of healing or salvation and she expands this healing to be increasingly inclusive. What begins as a single voice breaking the silence in The Bluest Eye becomes a group of people sharing their secrets in Jazz, and finally an entire town coming to terms with the power of speaking up. This thesis looks at the secrets and their impact on characters in each novel and explores the progression of the power in refusing to keep quiet.

The Earthly Paradise was William Morris’s first real success, and it remained his best-known work even after his death. It has not fared as well since the mid-twentieth century, when it became overlooked and problematic, as the Morris of The Earthly Paradise years became coextensive with a portrait of Victorian middle-class myopia. This verdict has been brought to the doors of the poem’s first readers, who are imagined to have liked it for uncomplicated reasons of fashion and entertainment. I reconsider these assumptions by returning to the contemporary reception of the poem to ask what audiences thought about Morris as a public figure, what it was that they so responded to in his work, and what the poem itself says about reception—the relationship between story, audience, and speaker. I argue both within the text and in the reception of it, such relationships are nearly always understood as communal, as storytellers—Morris and those in his text—address audiences as collective publics, and speak on behalf of them. Moreover, this speech is always marked by a mutually inclusive relationship with text, so that stories are properly understood as arising from the discursive field established through the participation, both textual and vocal, of anyone who understands himself or herself addressed by the discourse.

I vår uppsats har vi undersökt hur medierapporteringen av dokusåpan Paradise Hotel har förändrats under tidsperioden 2005 till 2014. Vi har gjort detta genom att undersöka medierapporteringen över tid och jämfört Aftonbladets och Expressens pappersartiklar från de valda åren med varandra. De konkreta frågor som ställts till artiklarna är "hur har rubrikerna förändrats?", "vilken vinkling har artiklarna?", "hur beskrivs deltagarna?" samt "vilken sorts personer rapporteras det om mest?". Eftersom vår studie handlar om en förändrad medierapportering av en dokusåpa så kan den ses som ett fall av kvällspressens nöjesrapportering. Det vi har kommit fram till genom att studera de valda artiklarna är att de artiklar som publiceras i Aftonbladets och Expressens pappersupplagor som uppmärksammar Paradise Hotel i dag inte vinklas hårdare nu. Samtidigt har vi sett en förändring där media har gått från att beskriva programmet som något skandalomsusat till en mjukare beskrivning där negativa epitet som "sexsåpa" i lika hög grad som tidigare inte används i tidningsartiklar om programmet . Rapporteringens fokus har också flyttat från konflikter och bråk deltagarna emellan till sex, relationer och deltagarnas privatliv. Således gestaltas såväl programmet som dess deltagare på ett annorlunda sätt idag än vad de gjordes år 2005, dock nödvändigtvis inte hårdare

In the span of this thesis, I investigate the queer nature of John Milton’s epic poem Paradise Lost, and argue that in spite of the biblical subject matter it is in fact a text filled with instances of queer transgression. I focus on preexisting feminist critiques of Milton in my introduction in order to ground myself within the academic field, and in order to illustrate how I will be branching out from it. In my first chapter, I discuss the queered nature of the poem’s landscapes, such as Chaos and Hell, and the specifically queer and masculine nature of reproduction, such as Sin’s birth out of Satan’s head and Eve’s birth from Adam’s rib. I then turn to an in-depth discussion of Sin in Chapter Two, illustrating how she is punished with reproduction and sexual violence, and how this contrasts with her queer birth while illustrating the poem’s problematic stance toward fallen women. In my final chapter, I tackle the character of Eve, and argue that her narcissistic scene at the lake after her birth reveals her queer sexual desire for her feminine reflection. I also discuss how the poem sexualizes Sin and Eve, and how their physical appearances illustrate the state of women in the poem. I finish by arguing that a queer perspective of Milton is important because it allows modern critics to view as both illuminating and empowering.

The thesis has a goal to investigate the audience of reality shows available on Czech broadcasting market. Different types of shows will be analysed using selected parameters through the quantitative analysis. We will look for the similar and different parameters of audiences. The thesis is mostly focused on the show Hotel Paradise and its qualitative analysis.

M.A. (Bible Studies) / Please refer to full text to view abstract

Foreword This paper will be of value in answering continuing questions regarding John Milton's position on war and peace. The questions continue and are valid because Milton's works, as considered in the paper, offer support for both pro-war and pro-peace interpretations. The paper also addresses a middle-ground interpretation-that Milton's position can best be understood in light of the legal theories of Hugo Grotius, the seventeenth-century Dutch scholar who is generally accepted as the father of modern international law. The works considered include, among others, the Nativity Ode, the sonnets, Paradise Lost, Paradise Regained, Samson Agonistes (including post 9/11 controversy involving its alleged endorsement of terrorism), Christian Doctrine, and Milton's infrequently cited History of Britain. No ultimate answers are suggested except that more than three hundred years of Milton scholarship have left little unexplored regarding Milton's views on war and peace. Milton will always be known for his admiration of soldiers, particularly his employer, Oliver Cromwell, and for his military imagery, particularly in Paradise Lost. He will also be known as a man who lived in a time of constant warfare, and yet who valued and sought individual inner peace.

Le Paradis en Islam est défini par le terme arabe Al-Janna comme mentionné dans le Coran, le Livre Saint des musulmans. La connaissance du Paradis est associée chez les musulmans à des états de bien-être absolu dans l’Au-delà en même temps qu’elle est associée à la notion coranique du paradis originel comme premier lieu de séjour d’Adam et Ève. La récompense paradisiaque est interprétée dans les consciences musulmanes comme une grâce divine éternelle après la mort. C’est pourquoi toute une littérature de récits sur le Paradis islamique ne va pas cesser de fasciner les populations musulmanes et non-musulmanes depuis l’avènement de l’Islam jusqu’au début de la période moderne. Le texte coranique abonde en descriptions paradisiaques au même titre que les compilations de ḥadīths ou dires du prophète Muhammad, qui viennent les expliquer et les expliciter. La notion de paradis, fortement présente dans la doctrine islamique a fourni un grand nombre de thèmes de discussions aux théologiens et aux docteurs sunnites de la Loi durant toute la période médiévale suscitant parfois de vifs débats et des controverses. La littérature exégétique propre au paradis se définissant progressivement, il est alors nécessaire de comprendre le processus d’évolution dans l’élaboration d’une Histoire de la description du Paradis en Islam du VIIème au XVIème siècle ainsi que la manière dont s’est opérée la mise en place d’une interprétation réglementée par les auteurs sunnites les plus rigoristes pour l’imagination « cadrée » du lieu paradisiaque. / Paradise in Islam is defined by the Arabic term Al-Janna as mentioned in the Qur'an, the Holy Book of Muslims. The knowledge of Paradise is associated with the states of absolute well-being in the Hereafter and at the same time with the Qur'anic notion of the original paradise as the first place of residence of Adam and Eve. The heavenly reward is interpreted in Muslim consciousness as an eternal divine grace after death. This is why a whole literature of stories about the Islamic paradise will not stop fascinating the Muslim and non-Muslim populations since the advent of Islam until the beginning of the modern period. The Quranic text abounds in paradisiacal descriptions as well as the compilations of ḥadīths or sayings of the prophet Muhammad, who come to underline and explain them. The notion of paradise, strongly present in Islamic doctrine, has provided a great deal of discussion to Sunni theologians and Sunni Doctors throughout the medieval period, sometimes with heated debate and controversy. The exegetical literature specific to paradise being defined gradually, it is then necessary to understand the process of evolution in the elaboration of a History of the description of Paradise in Islam from the 7th to the 16th century, as well as the way in which it operated the establishment of a regulated interpretation by the most rigorous Sunni authors for the "framed" imagination of the paradisiacal place.

Thesis advisor: Dayton Haskin / Using methods drawn from literary analysis, theology, and political history, <italic>Loving Liberty</italic> explores the relationship between Milton's thinking about liberty and his practice of scriptural interpretation. It argues that Milton advances a model of a free society ultimately modeled on the charitable relations between the Father and the Son, who in his view differ essentially from one another. This model of liberated unity in difference derives from, and responds to, Milton's encounter with the Reformation ideal of each believer reading the Bible for him or herself, along with the social chaos that accompanied the resulting proliferation of interpretations. Using a complex concept of charity, Milton's writings imagine a society in which all are free to use scripture in highly individualized ways that nevertheless conduce to unity rather than chaos. In the end, the very interpretative practice through which Milton thinks his way toward this model also stands as its shining example, culminating in a rich body of writing that creatively re-imagines scripture and that invites its readers to use these new creations or not, as charity demands and in keeping with their own freely exercised gifts. In contrast to what he calls &ldquo;obstinate literality&rdquo; and &ldquo;alphabetical servility&rdquo in <italic>The Doctrine and Discipline of Divorce</italic>, Milton's liberated interpretative method requires the interpreter to generate his or her own Bible, whether by radically reassembling the text (as Milton does in <italic>De Doctrina Christiana</italic>), by prophetically speaking the scripture written on one's heart (as Michael teaches Adam to do in <italic>Paradise Lost</italic>). / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-01-12T14:46:50Z No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-01-12T14:47:03Z (GMT) No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-01-12T14:47:03Z (GMT). No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Christian society has always imagined a paradisiacal reward in the afterlife and with Dante Alighieri was not different. In this search for paradise in this life, as in the afterlife, the Florentine poet wrote one of the most studied and recited poems in the world, Commedia. Amid political quarrels within Florence, which Dante considered his paradise, the poet was exiled and through his writing roamed the Italian courts in search of a paradise in this life. In this work, we try to demonstrate how this process hapened, either by the political disputes in which Dante became involved, as well as in his defense to the Empire and oposition to the Papacy. The choices of the guides during their imaginary journey and the inspiration in the Byzantine mosaics of Ravenna, were also of fundamental importance for the composition of the Commedia. Thus, we seek to follow the trail and paths traveled by the poet in his incessant search for a paradise, still in this life. / A sociedade cristã sempre imaginou uma recompensa paradisíaca na vida após a morte e com Dante Alighieri não foi diferente. Nesta busca pelo paraíso, tanto nesta vida, quanto na vida após a morte, o poeta florentino escreveu um dos poemas mais estudados e recitados no mundo, a Commedia. Em meio a disputas políticas dentro de Florença, que Dante considerava seu paraíso, o poeta foi exilado e por meio de sua escrita vagou pelas cortes italianas em busca de um paraíso nesta vida. Neste trabalho procuramos demonstrar como se deu este processo, seja pelas disputas políticas em que Dante se envolveu, bem como na sua defesa ao Império e oposição ao Papado. As escolhas dos guias durante sua viagem imaginária e a inspiração nos mosaicos bizantinos de Ravena, também foram de fundamental importância para a composição da Commedia. Assim, procuramos seguir as trilhas e os caminhos percorridos pelo poeta em sua busca incessante por um paraíso, ainda nesta vida.