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The subject of this thesis is to document and reflect upon the design process for Temple University’s planned production of Rachel Atkins’ adaptation of William Wycherley’s The Country Wife. This account will discuss the process from inception through when production was postponed for public health reasons due to the global pandemic caused by the novel coronavirus COVID-19. This work will also serve to provide detailed descriptions of the costumes to be used by the costume shop to re-mount the production in August 2020. / Theater

It is often left unquestioned that women in the Hebrew Bible desired children. Though this is highly probable, many scholars make the assumption that all women necessarily wanted children. Universalizing the desire for children reduces complex characters to stand-ins for a supposed motif. This also essentializes the role of a female character to that of child-bearer, when actually these women have many different roles. Furthermore, many scholars make the claim that having children is the only way for a woman to improve her status in ancient Near Eastern societies. Yet women did not always receive a change in status because of childbirth. Therefore, the reasons why women desire children are quite varied. / Religion

Thesis (MPhil)--Stellenbosch University, 2003. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: This assignment is devoted to an in depth analysis of the pro- and the contra-positions in the long-standing and costly debate about the question whether to spray with DDT or not in the fight against malaria. I argue that the dilemma whether or not to spray with DDT is born out of a political agenda, hype, exaggeration and misinformation of the first order. Radical environmentalists appear to insist that DDT is a principal contributor of environmental degradation, and the major cause of death amongst wildlife and humans. Worse still, many Western people seem to be under the impression that mosquitoes cannot cause so much human misery as purported, and that malaria is caused by some kind of plant form of life, or even a virus. The proponents of DDT, on the other hand, appear to be convinced that DDT is a saviour of humankind, and argue that the horrors associated with DDT are exaggerated and baseless, as they are not backed by scientific inquiry. Proponents of DDT also believe that anything that is overused may kill, even ordinary table salt. Inthis assignment, both of these positions are scrutinized. On the basis of an historical overview in Chapter I of the history of the use of DDT, and the emergence of the debate about DDT in the wake of Rachel Carson's Silent Spring (1962), Chapter 2 is devoted to an evaluation of seven basic arguments against the use of DDT, while in Chapter 3 six arguments for the use of DDT are weighed. In Chapter 4 a resolution of the dilemma is proposed in which a case is made for a limited use of DDT only for indoor spraying of huts and houses against malaria mosquitoes until such time as a less dangerous alternative for DDT is found that can be used as effectively in the fight against malaria. As such, this case is informed by the strong moral conviction that we cannot allow poor people of colour to die because of a general ban on the use of DDT. Further research on this ethical debate is encouraged. / AFRIKAANSE OPSOMMING: Hierdie werkstuk is toegespits op 'n in-diepte analise van die pro- en kontra-posisies in die voortslepende, asook duur debat oor die gebruik van DDT al dan nie in die bekamping van Malaria. Ek argumenteer dat die dilemma rondom die vraag of DDT gebruik moet word of nie, aangewakker word deur politieke agendas, sensasie, oordrywing en foutiewe informasie van die eerste orde. Radikale omgewingsgesindes dring oënskynlik daarop aan dat die gebruik van DDT 'n hoof-oorsaak is van die agteruitgang van die omgewing, asook 'n primêre oorsaak van dood onder wild en mense. Erger nog, dit wil voorkom of heelwat Westerse mense onder die indruk is dat muskiete nie werklik soveel menslike lyding kan veroorsaak as wat voorgegee word nie, en dat malaria eerder veroorsaak word deur 'n sekere soort plantvorm van lewe, of selfs deur 'n virus. Die voorstaanders van DDT, aan die ander kant, is klaarblyklik oortuig dat DDT 'n redder van die mensdom is, en argumenteer dat die gruwels wat geassosieer word met DDT 'n grondelose oordrywing is, aangesien dit nie deur wetenskaplike ondersoek gesteun word nie. Voorstaanders van DDT glo verder dat enige stof wat in oormaat gebruik word, die dood kan veroorsaak, selfs gewone tafelsout. In hierdie werkstuk word albei hierdie posisies krities bestudeer en bespreek. Op grond van 'n historiese oorsig in Hoofstuk 1 oor die gebruik van DDT, en die ontstaan van die debat oor DDT na aanleiding van Rachel Carson se Silent Spring (1962), word Hoofstuk: 2 gewy aan 'n evaluasie van sewe basiese argumente teen die gebruik van DDT, terwyl in Hoofstuk 3 ses argumente vir die gebruik van DDT oorweeg word. In Hoofstuk 4 word 'n voorstel gemaak vir die resolusie van die dilemma deur 'n saak uit te maak vir die beperkte gebruik van DDT, nl. slegs vir binneshuise gebruik in hutte en huise teen malaria-muskiete tot tyd en wyl 'n minder gevaarlike alternatief vir DDT gevind word wat net so effektief sal wees in die stryd teen malaria. As sulks word hierdie studie gerugsteun deur die sterk morele oortuiging dat ons nie kan toelaat dat mense van kleur sterf as gevolg van 'n algemene verbod op die gebruik van DDT nie. Verdere navorsing oor hierdie etiese debat word aangemoedig.

This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.

Submitted by PPG Comunica??o Social (famecos-pg@pucrs.br) on 2018-05-28T18:27:04Z No. of bitstreams: 1 RANIELLE_LEAL_MOURA_TES.pdf: 11521914 bytes, checksum: 6100358820f2a08710b0bebb9d4a783a (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-06-07T11:24:03Z (GMT) No. of bitstreams: 1 RANIELLE_LEAL_MOURA_TES.pdf: 11521914 bytes, checksum: 6100358820f2a08710b0bebb9d4a783a (MD5) / Made available in DSpace on 2018-06-07T11:38:10Z (GMT). No. of bitstreams: 1 RANIELLE_LEAL_MOURA_TES.pdf: 11521914 bytes, checksum: 6100358820f2a08710b0bebb9d4a783a (MD5) Previous issue date: 2018-03-22 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present thesis aims to understand, if and how, Rachel de Queiroz and Maria Judite de Carvalho in their narratives of the published chronicles, respectively, in the magazine O Cruzeiro and in the Di?rio de Lisboa, used values and characteristics that composse the journalistic ethos modern, created to the information field. The analytic inspiration has a theoretical-philosophical basis in hermeneutics and, therefore, intends to interpret the narratives of the columns of both journalists, having as a parameter Hermeneutic Circle of Paul Ricoeur (2010) from this author?s Action and Interpretation?s Theory, which structures of pre-figuration, configuration and refiguration of the narrated actions, gain projection in the way of narrating the world in its time. The intention is to perceive through the interpretation chronicles? narratives published in ??ltima P?gina? e ?Rect?ngulos da Vida?, traces that can evidence journalism model forged in modernity regime of historicity, considering the journalists mentioned were also writers and, therefore, associate to the literary field where the chronicle, this investigation?s object, has different characteristics. The study, after the interpretative process, proves the thesis that the analyzed narratives reveal a great absorption of values associated to the way of being of modern journalism. / Esta tesis de doctorado tiene como objetivo entender, si y c?mo, Rachel de Queiroz y Mar?a Judith Carvalho, en las narrativas de cr?nicas publicadas, respectivamente, en la revista O Cruzeiro y el Diario de Lisboa, se apoderaban de los valores y de las caracter?sticas que conforman el esp?ritu period?stico moderno, creado para el campo informativo. La inspiraci?n anal?tica tiene base te?rico-filos?fica en la hermen?utica y, por lo tanto, tiene la intenci?n de interpretar las narrativas de las columnas de las dos periodistas, teniendo como par?metro el C?rculo Hermen?utico de Paul Ricoeur (2010) a partir de la Teor?a de la Acci?n e Interpretaci?n de este autor, en que las estructuras de pre-figuraci?n, configuraci?n y refiguraci?n de las acciones narradas, ganan proyecci?n en el modo de narrar el mundo en su tiempo. La intenci?n es percibir a trav?s de la interpretaci?n de las narrativas de las cr?nicas publicadas en ??ltima p?gina? y ?Rect?ngulos de la vida?, rasgos que puedan evidenciar un modelo de periodismo construido para el r?gimen de historicidad de la modernidad, considerando que las periodistas eran tambi?n escritoras y, por lo tanto, pertenec?an tambi?n al campo literario donde la cr?nica, objeto de esta investigaci?n, posee caracter?sticas distintas. El estudio comprueba la tesis de que las narrativas analizadas revelan una gran absorci?n de valores asociados al modo de ser del periodismo moderno. / A presente tese tem como objetivo compreender, se e como, Rachel de Queiroz e Maria Judite de Carvalho, nas narrativas das cr?nicas publicadas, respectivamente, na revista O Cruzeiro e no Di?rio de Lisboa, utilizaram valores e caracter?sticas que comp?em o ethos jornal?stico moderno, criado para o campo informativo. A inspira??o anal?tica tem base te?rico-filos?fica na hermen?utica, portanto, pretende interpretar as narrativas das colunas de ambas as jornalistas tendo como par?metro o c?rculo hermen?utico de Paul Ricoeur (2010), a partir da Teoria da A??o e Interpreta??o deste autor, em que as estruturas de prefigura??o, configura??o e refigura??o das a??es narradas ganham proje??o no modo de narrar o mundo em seu tempo. A inten??o ? perceber, atrav?s da interpreta??o das narrativas das cr?nicas publicadas nas colunas ??ltima P?gina? e ?Rect?ngulos da Vida?, tra?os que possam evidenciar um modelo de jornalismo forjado no regime de historicidade da modernidade, considerando que as jornalistas citadas eram tamb?m escritoras, logo, vinculavam-se igualmente ao campo liter?rio, em que a cr?nica, objeto desta investiga??o, possui caracter?sticas distintas. O estudo ap?s o processo interpretativo comprova a tese de que as narrativas analisadas revelam uma grande absor??o de valores associados ao modo de ser do jornalismo moderno.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-08-31T12:51:52Z No. of bitstreams: 1 Joana Angélica Travassos de Oliveira.pdf: 990386 bytes, checksum: 1ef99135d1af814f0fbf9867a5b2a44a (MD5) / Made available in DSpace on 2017-08-31T12:51:52Z (GMT). No. of bitstreams: 1 Joana Angélica Travassos de Oliveira.pdf: 990386 bytes, checksum: 1ef99135d1af814f0fbf9867a5b2a44a (MD5) Previous issue date: 2017-08-25 / The present dissertation has as its main corpus of analysis the novel As três Marias (1939), by the Brazilian writer Rachel de Queiroz (1910-2003). It aims at investigating the feminine figurations created in the book, by observing the trajectory of the three main characters in the narrative plot: Maria Augusta, Maria José and Maria da Glória, three girls who meet one another in a boarding school run by nuns and soon begin a lifelong friendship. Firstly, there’s a contextualization of the author’s literary career, the very first woman to take part in the Brazilian Academy of Letters. Then, we advance towards the description of some of the strong female characters the author usually portrays in her books, in an attempt to situate the novel “As três Marias” in her body of work. Finally, we analyze the trajectory of the three Marias, by examining the main character’s narrative voice, Guta, short for Maria Augusta, who incarnates women’s struggle for emancipation and their fight against suppression. Moreover, this research seeks to analyze the way three different roles of women, emblematic of the Brazilian society in the first half of the twentieth century, are depicted in the novel: women confined to marriage and family (Maria da Glória), women who join religion and pursue a career in teaching (Maria José), and those who seek freedom and independence, breaking the stereotype of submissive and dominated women in a patriarchal society (Guta) / Esta dissertação tem como corpus central o romance As três Marias (1939), da escritora cearense Rachel de Queiroz (1910-2003). O objetivo é investigar as figurações do feminino construídas na obra, a partir da observação da trajetória das três personagens que constituem a trama narrativa: Maria Augusta, Maria José e Maria da Glória, três meninas que se encontram em um internato de freiras onde iniciam uma amizade por toda a vida. Para tanto, parte-se primeiramente da contextualização da carreira literária da autora, primeira mulher a ocupar uma cadeira na Academia Brasileira de Letras, passando pela descrição de algumas de suas fortes personagens femininas, presentes em quase todos seus romances, para se buscar situar o romance As três Marias no conjunto da obra da escritora. Após esse percurso, aborda-se a trajetória de cada uma das Marias, a partir da análise da voz de sua narradora e protagonista, Maria Augusta, a Guta, aquela que encarna a luta da mulher pela emancipação das instituições de dominação da mulher. Busca-se, assim, analisar-se como o romance figura três modos diferentes do papel da mulher, emblemáticos da sociedade brasileira da primeira metade do século XX: a restrita ao matrimônio e à família (Maria da Glória), a que se dedica à religião e ao magistério (Maria José) e a que busca sua liberdade e independência, quebrando o estereótipo da mulher submissa e dominada em uma sociedade patriarcal (Guta)

Made available in DSpace on 2016-04-28T14:16:10Z (GMT). No. of bitstreams: 1 Maria Milza de Farias Soares.pdf: 626534 bytes, checksum: c059b7ce2fc0437dd328278fd8ec2e4c (MD5) Previous issue date: 2010-10-15 / Secretaria da Educação do Estado de São Paulo / This work discusses the aspects of Science in the Literatura, through the novel Memorial de Maria Moura, by Rachel de Queiroz. In this case study, the use of the gunpowder (a valuable material used in the 19th century) and its components is highlighted. Among its components mentioned by the author on her work, she emphasizes the saltpeter as well as the way to transport it avoiding its waste. It is known that Ceara, the setting where the narrative takes place, was also the place where the gunpowder was produced. In Ceara, there were mines for the extraction of the saltpeter and laboratories for refining it. Rachel de Queiroz visits the 19th century, writing the novel based on the technique and in the historical context of the period / Este estudo discute os aspectos da Ciência na Literatura, através do romance Memorial de Maria Moura, de Rachel de Queiroz. Neste estudo de caso, aponta-se a pólvora, um material valioso utilizado no século XIX, e seus componentes, mencionados pela autora em sua obra, sobretudo o salitre, bem como a forma de transportá-lo evitando o desperdício. Sabe-se que o Ceará, cenário onde ocorre a narrativa, era também o local onde se dava a produção da pólvora, havendo minas para extração do salitre e laboratórios para sua refinação. Rachel de Queiroz, em Memorial de Maria Moura, retrocede ao século XIX, escrevendo o romance com base na técnica e no contexto histórico do período

The purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants. / text