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The thesis is intended to establish a basis for the sociological study of the Oxford Group. As a historical study, its particular concern is to trace (1) the ideological origins of the Group in American revivalism, college evangelism, and missions in the 1890-1918 period; and (2) the ideological development of the Group itself from its foundation in the 1920s, through the period of its most vigorous revivalism in the 1930s, to its political involvements of the 1940s and 1950s. The thesis seeks to show that previous studies and commentaries on the Oxford Group have lacked an adequate understanding of the ideological motivation of the Oxford Group. In consequence of these misunderstandings, some sociologists have misinterpreted the structure and development of the Group as a social movement. By emphasizing the history of the Group's ideology, this thesis seeks to correct these common misinterpretations. In subsequent sections, the thesis then analyses the social composition of the Group in the 1930s, and seeks to explain its appeal to an educated upper and middle class clientele. Development of the Group's structuee is traced from 1920s to the 1950s and particular attention is paid to itslack of formal organization and its expression of 'non-sectarian' ecumenism. These features are contrasted with the Group's strong internal cohesion and its 'sect-like' enthusiasm.

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This thesis explores the resurgence of anarchism in the current context of Santiago through the use of ethnographic work. Research focuses on anarchism among university students and anarchists that did not grow up in the dictatorship, but either during or after the establishment of democracy. I argue that in conjunction with reflecting a larger trend of increased popularity of anarchism worldwide, anarchists in Santiago also are positioned to make a specific critique of authoritarianism and the continuities of state oppression between dictatorship and democracy. Interviews with anarchists from varied backgrounds and perspectives on anarchism provided an array of differing views on pertinent social and political concerns, but the common threads woven through contemporary anarchism in Santiago are formative experiences within the context of an emerging democracy that has fallen short of reinvigorating many Chileans with faith in the state. Anarchism provides a meaningful critique of the state as an institution that upholds oppression, regardless of who controls it. This provides a framework to understand the continuities anarchists view between Chilean dictatorship and Chilean democracy. Of particular note in this work is the use of the anti-terrorist law by the state to imprison anarchists. The law was passed under the dictatorship of Augusto Pinochet to prosecute political dissidents, and has been expanded upon after the shift to democracy in 1990. The use of the anti-terrorism law is of interest in this work both because it is a direct legal continuation of the practices of state repression from the dictatorship, and because its use against anarchists seems to have given credence to anarchist claims about the function of the state independent of what its current articulation may be. By analyzing the politicization of anarchists, their critiques of the current state of politics, and state use of the anti-terrorist law a more thorough understanding of political repression, the contradictions of democracy, and contemporary Latin American resistance movements can be attained.

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Servitudes represent a fundamental part of private law and legal relations stemming therefrom. Their origins may be traced back to the very beginning of private law as well as to the depth of Roman law. This also characterizes the nature of servitudes in their oldest form which later develops and changes greatly. The thesis answers the fundamental question of the system of Roman law servitudes as well as their place in the overarching Roman law and their inner structure. Additionaly, attention is brougt to the manner of inception and termination of servitudes which differs according to the type of servitude, the geographical area or historical period. Lastly, the thesis focuses on the protection of servitudes, generally the most common concept in Roman law. The protection of servitudes is being achieved either throurgh bringing an action or through instruments of extraordinary magistrates, such as interdicts. Powered by TCPDF (www.tcpdf.org)

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Sidney José Molina Junior / Banca: Paulo de Tarso Camargo Cambraia Salles / Resumo: Esta dissertação apresenta um estudo sobre as recomposições feitas por Igor Stravinsky de obras de Carlo Gesualdo (ca. 1560-1613). Estas recomposições são duas: Monumentum pro Gesualdo ad CD annum, orquestração feita a partir de três madrigais de Gesualdo, e Tres Sacrae Cantiones, onde Stravinsky compõe as partes perdidas de três motetos de Gesualdo. Iniciando com o estudo do estilo de Gesualdo, baseado no trabalho de Turci-Escobar, as obras originais de Gesualdo recompostas por Stravinsky são analisadas. Comparando as recomposições de Stravinsky com a obra original de Gesualdo, a maneira como Stravinsky comenta a obra de Gesualdo em seu trabalho é investigada. A intenção é determinar como Stravinsky imprime seu estilo nessas peças, e como ele traz a música de Gesualdo para o século XX. / Abstract: In this dissertation, a study of the Igor Stravinsky's re-compositions of Carlo Gesualdo's (ca. 1560-1613) works is presented. The re-compositions are two: Monumentum pro Gesualdo ad CD annum, a setting for instruments of three Gesualdos's madrigals, and Tres Sacrae Cantiones, where Stravinsky composed the missing parts of the three Gesualdo's motets. Starting with a study of Gesualdo's style, based on turci-Escobar's work, the original Gesualdo's pieces re-composed by Stravinsky are analyzed.By comparing Stravinsky's re-compositions and Gesualdo's works, the way that Stravinsky comments the Gesulado's style is investigated. The intention is both to determine how Stravinsky imprints his own style on to it and how he brings Gesualdo's music to XX Century. / Mestre