The sacred and the profane: a dichotomy that can only exist through the thresholds within. In a world that's drowning in the profane, we yearn for the ephemeral, in which our mind, body, and soul emerge out of the mundanity of day-to-day life, and into something beyond. We search for the art, seek pilgrimage, and long for the symbols. The physical, emotional, and sensational thresholds we pass between the two states are what resonate in our bodies. Those experiences are the stories we pass on. Yet, some of the most sacred spaces in the world have become mere subjects behind the lens of a camera. Technology has empowered our ability to reach marvels, yet it has provided layers now inherently filtered onto our experiences. How real are these thresholds we long to pass if they are experienced only through electronic devices? The sacred experiences I treasure the most were given life through movement: movement of time, light, and the elements, none of which I would trade for a photograph. The following pages trace my imagination of a place where we take a step back through the door we barely noticed. Instead of looking for the sacred, we journey through the profane. We celebrate the threshold. / Master of Architecture

The publicelion of Biich in lismayed or infin iated those erities who had with Evelyn early comic novels.It seems that jaugh's apparent obsession with the upper class and fatholicism is horrible.repel- lent unpardenable. Howeyer.the sacred and profane meneries of caplain Byder are nol exclusivelv divided;rather.linny crilicize and counterbalan- ce each other.As a result.the imelies no wholehearted embrace of an ualue. The firet aim of this thesis is to explore the ambivalence of emotious th- nouah the ambiauous narrative--how time dislance does not offer the tone but tosters the nostalaic mood instead.The cmestion of Evelyn waugh's snobbery is the main issue in the second chadter.The last chapter cente- rs on the narrative which reveals that the profane proves to be the holv. The author hopes that this study can shed chariivino lish' an this often misread novel. #50010343.abs #50010343.abs

Cette étude porte sur une tradition picturale méconnue, celle des Liumin tu (portraits d’errants, de mendiants, etc.), et se propose d’analyser et de définir ce genre avant qu’il ne sombre dans l’oubli général. Cette tradition se rattache à l’œuvre de Zheng Xia (1041-1119) qui, en 1074, soumit au trône un mémoire accompagné d’une peinture représentant les victimes d’une famine, pour demander des secours et dénoncer l’origine politique de la crise. La première partie de ce travail est consacrée au prototype du genre et à sa postérité directe : les mémoires illustrés, produits à partir de l’époque Ming par des fonctionnaires. Nous nous sommes interrogée sur les procédés employés pour décrire et mettre en image la catastrophe et ses victimes, mais aussi sur les fonctions de ces ouvrages et leurs modalités de transmission. Au XVIe siècle, apparaissent également des peintures qui présentent, à côté des réfugiés, des mendiants et d’autres déclassés. Au moins deux grands types émergent : les œuvres qui s’attachent à souligner les souffrances de ces gens, et celles les dépeignant dans des situations comiques ou grotesques. Dans la deuxième puis la troisième partie, nous suivons parallèlement le développement de ces deux traditions aux époques Ming et Qing. Il est apparu que si certaines œuvres décrivent les misères de ces chemineaux pour indigner et émouvoir le spectateur, comme les mémoires illustrés, d’autres présentent les maux de la société à travers ces personnages. Les peintres pouvaient combiner ces deux niveaux de commentaire dans une même œuvre et tenir plusieurs discours, suivant les situations auxquelles ils étaient confrontés et le public auquel ils s’adressaient. / This dissertation focuses on a neglected tradition in Chinese painting known as Liumin tu (images of refugees, beggars, etc.), and proposes to define and analyze this genre, lifting it from general oblivion. This tradition is associated with Zheng Xia, who, in 1074, submitted a memorial to the throne along with a painting of disaster refugees in order to request assistance and denounce the misguided politics of the time. The first part of this study is devoted to the genre’s prototype and to a selected group of illustrated memorials produced by officials during the Ming and Qing period. The examples analyzed prompt an inquiry into the methods used to describe and paint disasters and their victims, the functions of these works, and their modes of transmission. In the 16th century, paintings appear that also present, alongside refugees, beggars and other street characters. At least two types emerge during this era: paintings endeavoring to highlight the plight of these people, and those depicting them in comic or grotesque situations. The second and third parts of this dissertation follow the developments of these two latter genres. It emerges that, while some works deploy the misery of these vagrants to move the viewer and fill him with indignation, as the illustrated memorials do, others instead aim to portray the ills of society through these same characters: beggars symbolizing those who beg for favors; blind people serving as a metaphor for people blinded by power and glory, and so on. Painters could combine these two levels of commentary in the same work and take different stances, depending on the situations they faced and the public they addressed.

Louis Sullivan’s “form ever follows function” had a profound influence on architecture. Although often confused as synonymous with modernism, functionalism is more closely related to positivism in its bias toward science and its rejection of introspective knowledge. This dismissal of the superfluous (such as aesthetic form or ornamentation) diminished the intuitive “human” in architecture by assuming universal rationality. This thesis re-examines functionalism in a contemporary setting: a vertical Buddhist temple set in between two tenement buildings within a New York City plot. Influenced by the work of Lars Lerup and the early work of Diller and Scofidio, the design explores the poetic tensions and obsessions between the profane world of the inhabitants and the sacred world of the temple through abstraction without any attempt to resolve them.

Située dans une zone charnière de l’Afrique et du Maghreb, le contact avec l’Occident, la littérature mauritanienne de deux expressions a été fortement influencée par « le bruit des autres ».L’œuvre littéraire d’Ousmane Moussa Diagana s’inscrit dans cette tradition séculaire, que nous avons intitulée « Interculturalité et Intertextualité ». Une écriture nomade qui s’est inspirée de l’itinéraire de formation et de contact de son auteur dans le temps et dans l’espace. En effet, l’odyssée des concepts trouve une toute autre définition et d’application dans les différents textes qui ont fait l’objet de notre étude.La tradition orale mise à mal par la rencontre choc avec d’autres cultures connait un regain d’intérêt dans cette œuvre qui a tenté de dépoussiérer les antiquités mauritaniennes avec un regard moderne, introspectif et constructif.Les textes d’Ousmane s’approprient de l’histoire, du mythe, de la tradition pour fonder une poétique de la relation ou de la médiation. C’est pourquoi avec les récurrences thématiques qui sillonnent l’œuvre on n’est tenté de réconcilier aujourd’hui interculturalité et intertextualité. C’est-à-dire qu’aucune frontière ne les sépare. Elles sont désormais confondues au sens ousmanien. / Located in a very important zone between Africa, Maghreb and Europe, the Mauritanian literature has been influenced by « le bruit des autres »Ousmane Moussa Diagana’s work is part of this tradition that we call “Interculturalité et Intertextaulité”. His writing is essentially based on his education on the one hand and on his relationship with his environment on the other hand.In fact the mix of concepts finds its definition in different texts that constitute the main goal of our studyThe oral tradition faced to the meeting of different cultures knows a new revival in this book trying to highlight the Mauritanian antiquity with a modern regard.Ousman’s texts take charge history, mythology, tradition in order to build a poetic of relation and mediation. That’s why with thematic recurrence in this work, we try to reconcile interculturality with intertextuality. This means there is no limit between these two concepts. According to Ousman both are closely mixed up.

Architecture that embodies contradiction has the opportunity to be a separation while creating new avenues. Separations help by distinguishing the two dualities. This thesis is an exploration on Architecture's response within complexity and contradiction. Within my project, the driving parameter is the program: A monastery for the Dominican order within an urban context of Washington DC. The architecture has two primary responsibilities, one is to preserve the sanctity of a restricted way of living and the other to engage with its profane surrounding. The two most important questions are: how does a monastery represent itself to a city; and how does a city represent itself from within a monastery. / Master of Architecture / Architecture that embodies contradiction has the opportunity to be a separation while creating new avenues. Separations help by distinguishing the two dualities. This thesis is an exploration on Architecture's response within complexity and contradiction. Within my project, the driving parameter is the program: A monastery for the Dominican order within an urban context of Washington DC. The architecture has two primary responsibilities, one is to preserve the sanctity of a restricted way of living and the other to engage with its profane surrounding. The two most important questions are: how does a monastery represent itself to a city; and how does a city represent itself from within a monastery.

Le risque zéro n'existe pas ! Aussi, pour se protéger contre d'éventuels impayés, les créanciers n'hésitent pas à demander à leurs futurs débiteurs des garanties. Parmi ces dernières, le cautionnement tient une place de choix. Grâce à sa rapidité, sa simplicité, il séduit et devient au fil du temps « la reine des sûretés » mais dont le royaume cache bien des surprises, surtout pour les cautions qui ne se posent guère de questions lors de la formation du contrat. Prenant le risque d'autrui, les cautions disposent-elles des bonnes clés pour entrer en relations contractuelles ? Mesurent-elles la portée de leur engagement ? Il est permis d'en douter au regard de l'important contentieux qui agite la matière. Dans ce cas, comment les protéger efficacement sans mettre en péril le cautionnement ? Définit, ou plus exactement décrit à l'article 2288 du Code civil comme « celui qui se rend caution d'une obligation se soumet envers le créancier à satisfaire à cette obligation si le débiteur n'y satisfait pas lui-même », le cautionnement est soumis à de vives critiques. On s'interroge sur son efficacité, on doute de sa souplesse, de son aptitude à offrir la sécurité juridique attendue. On fustige également l'intrusion excessive du législateur et de la jurisprudence dans le contrat. Mais ces derniers se sont donnés pour mission de délivrer à la caution le fameux « mode d'emploi » qui doit l'avertir des menaces que dissimule cette sûreté. Mais la philosophie protectrice des cautions a poussé le raisonnement très loin, peut-être trop loin. Or, il faut un ajustement des règles du cautionnement à la mesure du droit des sûretés qui demeure une matière foisonnante où la vivacité, la créativité rythment les rapports contractuels. Le droit du cautionnement doit dès lors se garder d'être figé, immobile dans un monde qui est en perpétuelle mouvement et où le temps est à la révision, aux recherches pour être en adéquation avec les besoins économiques, sociaux et juridiques de notre société. De fait le cautionnement doit s'extraire de ce cercle vicieux dans lequel il est tombé. / The zero risk does not exist! So, to protect itself against possible outstanding payments, the creditors do not hesitate to ask their future debtors of guarantees. Among the latter, the guarantee holds a special place.Thanks to it speed, its simplicity, its seduces and becomes over time “the queen of the safeties” but from whom the kingdom hides many surprises, especially for the guarantee which raise themselves not many questions during the training of the contract. Taking the risk of others, pledges do they arrange good keys to enter contractual relations? Do they measure the impact of their commitment? It is allowed to doubt it with regard to the important dispute which shakes the subject. In this cas, how protect them effectively without putting in danger the guarenty? Defines, or more exactly described in the article 2288 of the Civil code “as the one who goes pledge of an obligation submits itself to the creditor to satisfy this obligation if the debtor does not satisfy it himself”, the guarenty is subjected to deep criticisms.We wonder about his efficiency, we doubt his flexibility, its capacity to offer the expected legal security. We also castigate the excessive intrusion of the legislator and the jurisprudence in the contract. But the latter gave for mission to deliver to the pledge the famous “instructions for use” which has to warn it of threats which hides this safety. But the protective philosophy of pledges pushed the very far reasoning, maybe too far. Now, one needs that an adjustment of the rules of the guarenty for the measure of the law of the safeties which remains an abundant material where the liveliness, the creativity give rhythm to the contractual reports. The law of the guarenty has to be careful not from then on to be congealed, to motionless in a world which is in perpetual movement and where the time is for the revision, for the searches to be in adequacy with the economic, social and legal needs for our society. De facto the guarenty has to extract of vicious circle in which it fell.

La littérature fantastique au XXe siècle semble est issue d’un triple conflit qui est aussi celui de l’homme contemporain : rupture avec la réalité, crise identitaire et perte de sens de l’univers caractéristiques à l’époque postmoderne, profanisation graduelle de l’espace urbain. Dans ce contexte difficile troublé encore plus par des prévisions alarmistes de l’avenir proche, l’homme contemporain exorcise ses peurs à travers les œuvres fantastiques, il s’invente des monstres pour arriver à supporter le quotidien. Pourtant, l’intrusion de la Surnature ou de l’étrange dans l’espace urbain moderne se rapproche du besoin que les sociétés traditionnelles avaient pour la présence du sacré dans leurs univers. A travers l’œuvre de trois écrivains, Mircea Eliade, Jean Ray et H.P. Lovecraft, l’espace urbain profane devient paradoxalement l’espace fantastique par excellence et le désenchantement du monde moderne se trouve confronté aux anciennes et nouvelles croyances simultanément. Ainsi, l’effet de fantastique urbain revalorise les aspects du sacré et permet des incursions analytiques interdisciplinaires, oscillant entre la littérature et l’histoire des religions. / During the 20th century, fantastic fiction seems to be the outcome of a triple conflict also attached to contemporary societies : a gap between the real world and the supernatural; an identity crisis in a meaningless post-modern era; and, a gradual divestment of ancient sacred symbols. In this highly problematic reference frame, obscured even more in anticipation of an alarming near future, Modern Man desperately struggles to alleviate his multiple fears through fantastic literature ; he creates imaginary monsters in order to help him cope with reality. Nevertheless, the encroaching of the Supernatural or the uncanny in the modern urban enclosed space is connected to the need that traditional societies expressed for the presence of the sacred in their universe. Throughout the works of three authors, Mircea Eliade, Jean Ray and H.P. Lovecraft, the urban and profane space paradoxically becomes a space of the fantastic par excellence. The disil! lusionment of the modern world finds itself exposed to and confronted by both topical and archaic beliefs. Thus, the urban fantastic effect is constantly reassessing features of the sacred and allows rich interpenetrations of different disciplines such as literature and history of religions.

O presente trabalho consiste em uma análise sobre o assunto Espaço divino no discurso de Ezequiel nos capítulos 8 a 11 e 43 a 48. A pesquisa fará um levantamento deste assunto a partir da proposta semiótica de Greimas, com o objetivo de uma melhor compreensão do texto e a busca de algumas possibilidades de significação para o espaço neste discurso. No primeiro capítulo será feita uma verificação de conceitos sobre a questão espaço, tanto em âmbitos bíblicos como de outros pensadores não ligados à área teológica, após uma breve exposição de questões básicas do método utilizado. O objetivo principal deste primeiro capítulo será verificar algumas abordagens de espaço relacionadas à questão do sagrado e do profano. Neste capítulo também serão descritos os conceitos sobre espaço a partir do termo bíblico hebraico e de alguns autores da área teológica e das Ciências da Religião, bem como a observação do espaço considerado sagrado para o povo hebreu. Na sequência serão trabalhados dois grupos de textos do livro do profeta Ezequiel, a partir da semiótica. Nestes textos, alguns aspectos essenciais na leitura sêmio-discursiva serão considerados, como, por exemplo, a ênfase no objeto de valor, o percurso narrativo do texto e o quadrado semiótico. Será destacada a análise do plano de expressão ou do nível discursivo, que ajudará na verificação da segmentação e estruturação do espaço, papel dos sujeitos e outros. Ainda será verificada, na análise do plano de expressão, a interdiscursividade e a intertextualidade do texto. Na análise do plano de conteúdo serão verificados os percursos temáticos, figurativos e a estrutura narrativa e fundamental. O alvo é chegar a um possível significado para o sentido de espaço nos grupos de textos selecionados do livro de Ezequiel. Este estudo também considerará pontos da análise exegética de um texto, para melhor descrição do contexto dos textos estudados. / The current research consists in an analysis on the subject "Divine space in the speech of Ezekiel in the chapters 8 to 11 and 43 to 48". The research will make an examination of the matter from the semiotic proposal of Greimas, with the objective of understanding better the text and the search for some possibilities of significance for the space in this speech. The first chapter will make a verification of concepts about this matter, in both biblical areas and other thinkers not related to the theological area, but to the Science of Religion. The analysis of the chapters will be presented after a brief exposition of basic questions related to the method which was used. The objective of this first chapter is to verify some approaches of space on the question of holy and profane. In this work, theres also a description of concepts about space, starting from the Hebrew biblical word, as the observation of the space considered sacred to the Jewish people. After, using semiotics, two groups of text in the book of the prophet Ezekiel will be analyzed. Also, in the texts, essential aspects will be considered in the semio-discursive reading, for example, the emphasis on the object of value, narrative path of the text and the semiotic square. The analysis of the plan of expression or discursive level will be highlighted, which will verify the segmentation and the structure of the space, the function of the subject and others. In the analysis of the plan of expression internal texts and intertextuality will be verified. In the analysis of the plan of content, the figurative theme path will be checked and the fundamental speech structure. The aim is a verification and the arrival at a meaning of a space sense in the selected texts in the book of Ezekiel, as well as how the space is characterized in those groups. This study will also consider points of the exegetics analysis of a text, to describe better the texts studied.

I denna studie undersöks elevers uppfattningar om bildämnets digitalisering. Detta görs utifrån Bernsteins teorier om “the sacred and the profane” och konceptet av ämnesparadigm. Studien baseras på en observation och kvalitativa respondentintervjuer med nio elever indelade i tre olika grupper.  Undersökningen visar att eleverna i studien anger traditionella tekniker, kreativitet och fritt skapande som kärnan i bildämnet och att de därmed främst sluter sig till det estetiskt- praktiska paradigmet. Dock nyanseras detta av att några elever i studien accepterar, och en elev som föredrar, digitalt orienterade uppgifter i bildämnet och en elev som anger kommunikativa aspekter som något en bör lära sig i bildämnet. Gemensamt är att eleverna vill arbeta praktiskt men att de accepterar digitala medier som verktyg bland andra verktyg i bildämnet. Elevernas förhållande till digitala medier i bildundervisningen präglas också av vilket program de arbetar i och den tid och kunskap de besitter under ett digitalt projekt.