Made available in DSpace on 2016-04-25T20:21:01Z (GMT). No. of bitstreams: 1 Antonio Carlos Drummond Monteiro de Castro.pdf: 864920 bytes, checksum: 8441a5ff9f4859481702cea9b5c388a4 (MD5) Previous issue date: 2013-06-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study aims at analyzing the literary work Grande Sertão: Veredas / The Devil to Pay in the Backlands under a politics perspective. As such, it sets out to analyze the narrator‟s mediation to communicate the novelist‟s thoughts. The narrative makes use of political, legal, historical and powerful literary resources. In the last twenty years, the high quality of the studies and essays on Guimaraes Rosa‟s work under the politics perspective has followed suit the well-known diversity of his books‟ themes. The polysemy in Riobaldo‟s name, as well as in his nicknames, has been highlighted by several critics and essayists. In this study, Baldo and Secretario convey the power/force/energy and role of the law and the war in the novel, which, in its turn, leads to a set of indices that points out to an unusual form of evidence: what weighs less, what does not show much or, what has been strategically scattered throughout the text; or, in addition, indices that were sifted out of his own history. They provide stronger evidence because they are difficult to notice; once they are, they strongly validate what is easy to see. This methodology suits a work where the subordinate relationships are weakened; or the relationships are subtly accomplished, in the fashion of a mobile. Through his language, the author gives us the arts of the language and the law, which will set the Art of Governing/the Art of Government/the Art of Governance / O objeto de nosso trabalho consiste em penetrar na obra literária Grande Sertão: Veredas sob a perspectiva da política. E, como tal, precisamos partir da mediação do narrador, desdobramento do romancista, que comunica o seu pensamento. Narrativa que se utiliza de instrumentais político, jurídico, histórico e intensos recursos literários. Nos últimos vinte anos, a excelência dos estudos e ensaios sob a perspectiva política acerca da obra de Guimarães Rosa vem sendo acompanhada pela conhecida diversidade de temas de seus livros. Riobaldo carrega polissemias em seu nome já destacadas por diversos críticos e ensaístas; de modo semelhante, os seus apelidos. No nosso estudo, Baldo e Secretário indicam o peso e o papel do direito e da guerra no romance que, por sua vez, nos leva a um conjunto de índices que aponta para um modo não habitual de prova: aquilo que pesa pouco, que pouco aparece ou, então, que alguns achados vão sendo deixados estrategicamente ao longo do texto; ou, ainda, índices depurados de sua história. Eles provam mais porque difíceis de serem percebidos; uma vez que sejam, confirmam com mais força aquilo fácil de ver. Essa metodologia se adéqua a uma obra em que as relações subordinadas são enfraquecidas; ou ainda, as relações se efetivam sutilmente, ao modo de um móbile. Através de sua língua própria, o autor nos traz as artes da linguagem e do direito que imprimirão a Arte de Governar

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:46:33Z No. of bitstreams: 1 Ivana Soares Paim.pdf: 6891293 bytes, checksum: b7d32c745fe946f89bd0dddaf46b2dc9 (MD5) / Made available in DSpace on 2017-12-20T08:46:33Z (GMT). No. of bitstreams: 1 Ivana Soares Paim.pdf: 6891293 bytes, checksum: b7d32c745fe946f89bd0dddaf46b2dc9 (MD5) Previous issue date: 2017-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research studies the image of the Devil, which is taken from the stages of the Universal Church of the Kingdom of God (UCKG) to the YouTube, according to the context of the communications that take place in the socialnetworks. The corpus of this work is made by an assemblage of scenes of exorcisms spreaded on YouTube, from 2010 through 2014, years of continuous expansion of this Church. This study aims to investigate the elements that build the representation of the Devil in the rituals of exorcism at the UCKG. These elements come from the Christian imaginary as well as from that of the Afro-Brazilian religions; they also come from the relations between the television and the religious practices, and consequently, from the marketing strategies developed by this Church. This research works with the hypothesis that the image of the Devil at the UCKG is an instrument of advertisement, part of the revival of the buzz marketing at the video sharing media and its use by religious institutions, in case, the UCKG. As an instrument of advertisement for this Church, the image of the Devil is represented in a fearful way and takes some characteristics of the Afro-Brazilian divinities by a hybridization process between these two religious imaginaries, conditioned to the UCKG’s movement of updating itself in search for recognition in a society that belongs to the web era. To develop this study, this research will consider the ideas of Hans Belting and Lúcia Santaella about the fields in which images can be classified into, as well as Gilbert Durand’s theories about the imaginary, that enable us to understand the building of images or representations as a product resulted from the interaction between an individual and his culture. It will also consider the concept of provoqued event by Patrick Charaudeau, who thinks the mediatic image is a programmed and an expected construction, whose purpose is to “reveal a truth” by persuasion and emotional appeal with obvious advertising intentions. In addition, other references will be considered for this research, such as studies about religion and more specifically about some Afro-Brazilian religions, in order to make comparisons between representations of different divinities and that of the Christian Devil. It will also consider studies about the buzz marketing that consists of an advertising strategy that makes the clients advertise the product by motivating them to talk about it with friends and acquaintances. We believe that the importance of this work relies on its contribution for the studies around the religious marketing in the time of web communication, since religious institutions have taken profit from the convergent media like YouTube to update their strategies in search for visibility and more followers / No contexto das comunicações realizadas por redes sociais de compartilhamento de informação, esta pesquisa estuda a imagem do Diabo levada dos palcos da Igreja Universal do Reino de Deus (IURD) para o YouTube. Mais especificamente, examina a produção dessa imagem diabólica nos discursos verbais, imagéticos e corporais de sujeitos presumidamente possuídos em rituais de exorcismo apresentados naquele site. O corpus do trabalho constitui-se de uma amostra de registros desses exorcismos divulgados no YouTube, postados no período de 2010 a 2014, anos de contínua expansão dessa Igreja. Esta pesquisa tem por objetivo investigar os elementos constitutivos da representação do Diabo nos rituais de exorcismo da IURD que partem do imaginário cristão e do imaginário das religiões afro-brasileiras, das relações entre as mídias televisivas e as práticas religiosas, e consequentemente, das estratégias de propaganda desenvolvidas por essa igreja. A pesquisa trabalha com a hipótese de que a imagem do Diabo na IURD é um instrumento de propaganda, parte da retomada do buzz marketing pelas mídias de compartilhamento de vídeo e de seu uso por instituições religiosas, no caso, a IURD. Como instrumento de propaganda dessa igreja, a imagem do Diabo é amedrontadora e se recobre de algumas características das divindades afro-brasileiras por um processo de hibridação entre esses imaginários religiosos, condicionados ao movimento de atualização da Universal e a sua busca por reconhecimento em uma sociedade inserida na era da web. Em plano teórico, mobilizar-se-ão os estudos de Hans Belting e Lúcia Santaella sobre os campos divisórios da imagem, assim como as teses sobre o imaginário de Gilbert Durand, que levam em consideração a interação do indivíduo com sua cultura, e o conceito de acontecimento provocado de Patrick Charaudeau, que considera a imagem midiática como uma construção esperada e programada, cuja finalidade é “revelar uma verdade” por meio da persuasão e do apelo emotivo, com fins claramente propagandísticos. Subsidiariamente, outros referenciais teóricos serão estudos abalizados sobre as religiões, inclusive as afro-brasileiras, que permitam estabelecer comparações entre representações de diferentes divindades àquelas do Diabo cristão, como também, trabalhos em torno do buzz marketing, uma técnica de propaganda que faz dos clientes os disseminadores de um produto ao estimulá-los a compartilhar informações sobre ele; o chamado boca-a-boca. Acreditamos que a relevância do trabalho está em contribuir com as reflexões voltadas ao marketing religioso na era da internet, do qual as igrejas vêm lançando mão cada vez mais para atualizar suas estratégias de busca por visibilidade e angariar mais fiéis

Made available in DSpace on 2016-04-26T14:54:23Z (GMT). No. of bitstreams: 1 Antonio Carlos Drummond Monteiro de Castro.pdf: 864920 bytes, checksum: 8441a5ff9f4859481702cea9b5c388a4 (MD5) Previous issue date: 2013-06-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study aims at analyzing the literary work Grande Sertão: Veredas / The Devil to Pay in the Backlands under a politics perspective. As such, it sets out to analyze the narrator‟s mediation to communicate the novelist‟s thoughts. The narrative makes use of political, legal, historical and powerful literary resources. In the last twenty years, the high quality of the studies and essays on Guimaraes Rosa‟s work under the politics perspective has followed suit the well-known diversity of his books‟ themes. The polysemy in Riobaldo‟s name, as well as in his nicknames, has been highlighted by several critics and essayists. In this study, Baldo and Secretario convey the power/force/energy and role of the law and the war in the novel, which, in its turn, leads to a set of indices that points out to an unusual form of evidence: what weighs less, what does not show much or, what has been strategically scattered throughout the text; or, in addition, indices that were sifted out of his own history. They provide stronger evidence because they are difficult to notice; once they are, they strongly validate what is easy to see. This methodology suits a work where the subordinate relationships are weakened; or the relationships are subtly accomplished, in the fashion of a mobile. Through his language, the author gives us the arts of the language and the law, which will set the Art of Governing/the Art of Government/the Art of Governance / O objeto de nosso trabalho consiste em penetrar na obra literária Grande Sertão: Veredas sob a perspectiva da política. E, como tal, precisamos partir da mediação do narrador, desdobramento do romancista, que comunica o seu pensamento. Narrativa que se utiliza de instrumentais político, jurídico, histórico e intensos recursos literários. Nos últimos vinte anos, a excelência dos estudos e ensaios sob a perspectiva política acerca da obra de Guimarães Rosa vem sendo acompanhada pela conhecida diversidade de temas de seus livros. Riobaldo carrega polissemias em seu nome já destacadas por diversos críticos e ensaístas; de modo semelhante, os seus apelidos. No nosso estudo, Baldo e Secretário indicam o peso e o papel do direito e da guerra no romance que, por sua vez, nos leva a um conjunto de índices que aponta para um modo não habitual de prova: aquilo que pesa pouco, que pouco aparece ou, então, que alguns achados vão sendo deixados estrategicamente ao longo do texto; ou, ainda, índices depurados de sua história. Eles provam mais porque difíceis de serem percebidos; uma vez que sejam, confirmam com mais força aquilo fácil de ver. Essa metodologia se adéqua a uma obra em que as relações subordinadas são enfraquecidas; ou ainda, as relações se efetivam sutilmente, ao modo de um móbile. Através de sua língua própria, o autor nos traz as artes da linguagem e do direito que imprimirão a Arte de Governar

<p>In early modern Sweden, intentional blasphemy was regarded as one of the most serious crimes one could commit. Blasphemy was termed “Crimen Laesae Majestatis Divinae” – “a crime against Our Heavenly Majesty” and was subject to the death penalty. From the 1680´s it was possible to be pardoned from death sentences already delivered by the courts of appeal by applying to the “Judiciary Inspection”, (Sw. Justitierevisionen) In early modern times the definition of blasphemy was influenced by the medieval scholastic view according to which God was perfect. The sourcematerial for the present thesis are 110 petitions for mercy in cases of blasphemy that came up before the council during the period 1680-1789. The cases studied can be divided into the following categories: Blasphemy against God, blasphemy against the sacraments, deliberate assignations wiht the Devil and “other blasphemies”. There was no Church law in Sweden before 1686 and a common law for the whole country did not exist before 1734. The Bible´s ten Commandments where added as an appendix to the already existing medieval laws, reiterated in 1608. An individual found guilty of blasphemy underwent both secular and church punishment. At least nine individuals (we lack information about some cases due to material that has been lost) where not pardoned by the council. The secular punishments included death by beheading or burning at stake, when the sentence was reduced some kind of corporal punishment – running the sauntlet, flogging, imprisonment on a diet of bread and water or a life time of labor. Church punishment was public shaming and meant that the accused had to sit on a special chair in church during the services and publicly ask God and the members of the congregation for forgiveness. This kind of punishment was meted out in Sweden until the late 18th century.Blasphemy is a complicated act that should be defined according to the norms of the society in which it occurs. There are two processes that have to be taken into considerations when studing the crime of blasphemy in early modern Sweden – the centralization of the government and the unification of the church according to the Lutheran creed.In the early modern society people lived in what has been called a “religious culture”, where religion was self-evident, collective concern. Within this context atheism, in the modern meaning of the word, was supposedly unimaginable.The theoretical framework of the study is inspired by Peter Burke’s theories of the reformation of popular culture. Measurements taken by the elite have usually been regarded as active and aggressive, while popular culture has been regarded a homogeneous passive mass that adjustes itself to demands from above. One of the primary aims of this thesis is to study how verbal statements, actions and attitudes reflected popular conceptions that could either be close to or far distant from the learned ideas of the elite. By dividing popular attitudes discerned in the cases studied into four groups corresponding to a kind of mental strata, a more varied image of popular culture is achieved. Blasphemy in early modern Sweden was a crime committed mainly by men, especially when it comes to expressing ideas about the Devil or attempting to contact him. Very few women were accused of blasphemy; of 117 individuals accused, only nine were women.</p>

This collection of two short stories and one novella seeks to express and embody concepts of narrative form and technique developed over the course of this graduate program with regards to the formulation of believable, nonrealist fictional realities in an American idiom which can enter into the global critical conversation of similarly-purposed international literature.

Thesis (Diplomarbeit)--Universität Wien, 2000. / Includes bibliographical references.

In this study, I explore four representations of the Devil as a fallen angel in nineteenth century France in order to better understand the way in which the artists at this time used the symbol of the Devil to express their viewpoints on the various social, political and cultural changes in France. In the first chapter, I provide a survey of the artistic development of the Devil, from his angelic roots in the Old Testament to his near disappearance during the Enlightenment. I examine the semantic difficulties when discussing the Devil, as well as the current literature on his philosophical, theological and cultural significance. The second chapter is dedicated to an in-depth analysis of the four works in which I situate the image within the artist’s larger body of work and then examine the physical representation of the Devil, the landscape in which he is found and the transitory moment of the fall depicted. In the third chapter I provide a historical context for these representations and demonstrate the way in which they reflect the political and cultural agitation in France at the time due to the multiple revolutions, changes in governing structure and advances in science and technology. Through this exploration of these four representations, I propose that the Devil provides unique insight as to the ongoing artistic conceptualisation and perceptions of the state of humanity in an increasingly modern world. / Graduate / walkerem@uvic.ca

Der Begriff "Böse" ist seinem Bedeutungsumfang nach derart allumfassend, dass es unmöglich erscheint, sich diesem substanziell zu nähern. Die Arbeit versucht daher, das Phänomen des Bösen über seine Personifikationen zu erfassen und diese anhand begriffsgeschichtlicher Methoden aufzuarbeiten. Dabei steht das Zeitalter der Aufklärung im Zentrum der Analyse, da sich in jener Epoche ein elementarer Wandel vollzog, der das bis ins 18. Jh. hinein religiös geprägte Bild des Bösen ins Reich der Mythen und Legenden verbannte, ohne jedoch seine Personifikation, den Teufel, gänzlich zu vernichten. Ausgehend von diesem wichtigen Schritt in der Geschichte des Abendlandes entwickelt die Arbeit einen roten Faden der Kulturgeschichte des Bösen, der sich von den biblischen Anfängen bis hin zu den heute geläufigen Vorstellungen zieht. Damit wird verdeutlicht, inwieweit die religiöse Vorstellung des Teufels ein Paradigma bilden konnte, welches epochenübergreifende Geltung gewann.

In early modern Sweden, intentional blasphemy was regarded as one of the most serious crimes one could commit. Blasphemy was termed “Crimen Laesae Majestatis Divinae” – “a crime against Our Heavenly Majesty” and was subject to the death penalty. From the 1680´s it was possible to be pardoned from death sentences already delivered by the courts of appeal by applying to the “Judiciary Inspection”, (Sw. Justitierevisionen) In early modern times the definition of blasphemy was influenced by the medieval scholastic view according to which God was perfect. The sourcematerial for the present thesis are 110 petitions for mercy in cases of blasphemy that came up before the council during the period 1680-1789. The cases studied can be divided into the following categories: Blasphemy against God, blasphemy against the sacraments, deliberate assignations wiht the Devil and “other blasphemies”. There was no Church law in Sweden before 1686 and a common law for the whole country did not exist before 1734. The Bible´s ten Commandments where added as an appendix to the already existing medieval laws, reiterated in 1608. An individual found guilty of blasphemy underwent both secular and church punishment. At least nine individuals (we lack information about some cases due to material that has been lost) where not pardoned by the council. The secular punishments included death by beheading or burning at stake, when the sentence was reduced some kind of corporal punishment – running the sauntlet, flogging, imprisonment on a diet of bread and water or a life time of labor. Church punishment was public shaming and meant that the accused had to sit on a special chair in church during the services and publicly ask God and the members of the congregation for forgiveness. This kind of punishment was meted out in Sweden until the late 18th century.Blasphemy is a complicated act that should be defined according to the norms of the society in which it occurs. There are two processes that have to be taken into considerations when studing the crime of blasphemy in early modern Sweden – the centralization of the government and the unification of the church according to the Lutheran creed.In the early modern society people lived in what has been called a “religious culture”, where religion was self-evident, collective concern. Within this context atheism, in the modern meaning of the word, was supposedly unimaginable.The theoretical framework of the study is inspired by Peter Burke’s theories of the reformation of popular culture. Measurements taken by the elite have usually been regarded as active and aggressive, while popular culture has been regarded a homogeneous passive mass that adjustes itself to demands from above. One of the primary aims of this thesis is to study how verbal statements, actions and attitudes reflected popular conceptions that could either be close to or far distant from the learned ideas of the elite. By dividing popular attitudes discerned in the cases studied into four groups corresponding to a kind of mental strata, a more varied image of popular culture is achieved. Blasphemy in early modern Sweden was a crime committed mainly by men, especially when it comes to expressing ideas about the Devil or attempting to contact him. Very few women were accused of blasphemy; of 117 individuals accused, only nine were women.

Revision of the author's Thesis (doctoral)--Université de Lille-III, 1995. / Includes bibliographical references (p. [547]-557) and index.