O CAMINHO DO CORDEIRO: REPRESENTAÇÃO E CONSTRUÇÃO DE IDENTIDADE EM APOCALIPSE 14.1-5

Ao analisar Apocalipse 14.1-5, esta pesquisa encontrou afirmações que parecem representar a identidade de João e sua audiência, bem como a forma como eles concebiam o mundo. Nos seus elementos litúrgicos, estas pessoas se viam como sacerdotes de Deus, membros do seu reino, participantes do seu culto celestial e com dignidade exa ltada como a dos anjos do céu. Alguns elementos identitários, entretanto, não são compartilhados plenamente entre João e suas comunidades. O autor de Apocalipse possui altas demandas ascéticas e sectárias que o afastam não apenas da sociedade mais ampla, mas de qualquer irmão que tenha uma posição divergente. Ele enxerga o mundo mergulhado num conflito entre o Dragão e o Cordeiro, conflito esse que será vencido com a participação de 144.000 guerreiros através da prática do martírio. Esta tradição da guerra santa insere no Apocalipse o potencial de isolar sectariamente a audiência da sociedade e de outros grupos religiosos.(AU)

LITURGIA E IDENTIDADES CULTURAIS NAS PRÁTICAS LITÚRGICAS DA IGREJA PRESBITERIANA-REFORMADA EM CUBA NA PERSPECTIVA DA PRÁXIS RELIGIOSA

A presente tese aborda a relação entre liturgia e identidades culturais nas práticas litúrgicas da Igreja Presbiteriana Reformada em Cuba (IPRC). Tal estudo realiza-se à luz da práxis religiosa, que abrange o conjunto de atitudes criadoras, reflexivas,libertadoras e radicais desenvolvidas pelas igrejas e instituições cristãs. O texto remete tanto à história sócio-cultural do país quanto à história do presbiterianismo cubano, embora focalize o período de 1967-2009, e se desenvolve a partir de quatro objetivos específicos: pesquisar as matrizes culturais constitutivas da cultura cubana; apresentar as raízes históricas dos protestantes e as vertentes seguidas pelo presbiterianismo cubano até a conformação da IPRC; verificar as práticas litúrgicas da IPRC; e oferecer pistas para construir e celebrar a esperança por meio de uma práxis litúrgica inculturada. Para alcançar os objetivos desta pesquisa, usou-se o método histórico, que pressupõe a investigação de acontecimentos, processos e instituições do passado para verificar sua influência na sociedade. A metodologia foi de natureza bibliográfica, auxiliada pela pesquisa de campo através de um questionário de doze perguntas. As entrevistas foram feitas com pessoas pertences à IPRC. As ações se desenvolveram da seguinte maneira: revisão de textos produzidos por cientistas cubanos acerca da temática em questão; levantamento bibliográfico de literatura de autores não cubanos para complementar o tema escolhido; análise do teor compilado; aplicação de entrevistas; e avaliação dos resultados obtidos. O problema para o qual a presente pesquisa procura respostas é que por um lado a sociedade mudou e, por outro lado, a Igreja não consegue dialogar eficazmente com a mesma, nem acompanhar as mudanças sociais. Diante de tal situação a pergunta é: O que fazer para desenvolver uma práxis litúrgica adequada ao contexto sócio-cultural no qual a Igreja está inserida? As respostas a esta questão não se erguem como um padrão rígido, mas como guia, ou mapa, que constantemente deverá ser revisado e adequado.

LITURGIA E ECOLOGIA: APONTAMENTOS PARA UMA PRÁXIS PASTORAL ECOLITÚRGICA NA IGREJA METODISTA.

Esta pesquisa propõe-se a analisar a práxis pastoral litúrgica ecológica na Igreja Metodista. A práxis é a atividade reflexiva e material do ser humano, é ação transformadora, para uma pastoral ecoliturgica na dimensão pública da fé. A pesquisa consiste em estudar a interrelação que deve existir entre Liturgia e Ecologia, a partir dos conceitos bilbicos e a forma como a práxis pode influir e se articular para o desenvolvimento de uma ecoliturgia na realidade atual, tendo como espaço de referência a Igreja Metodista. A pesquisa se desenvolve em três etapas: Na primeira analisa conceitos teóricos de liturgia, sua história, mudanças e experiências do ser humano nas celebrações ligadas aos elementos da natureza; Na segunda, os conceitos de ecologia, sua crise e suas inter-relações com o Todo. Na terceira, os apontamentos para uma práxis pastoral ecolitúrgica na Igreja Metodista, como referencial para criar ações que conscientizem, mobilizem, para o reencantamento da espiritualidade, do sentido da vida e da ecologia, a fim de produzir esperança, diante das causas sociais que dizem respeito à vida integral do ser humano. O resultado será um conjunto de referenciais históricos e teóricos capazes de desconstruir, construir e reconstruir, a fim de sustentar uma práxis pastoral ecolitúrgica. Com o objetivo de realizar uma nova hermenêutica do tema num novo paradigma para as questões da realidade, tendo em vista a dimensão publica da fé na relação de Deus na criação e a práxis da igreja na sociedade. Na necessidade que o ser humano tem de se reencantar, reconhecer, saber cuidar, reconstruir tudo que nos garante a possibilidade da vida e a sustentabilidade no planeta.

A LITURGIA DE HEBREUS: Uma análise de como as mudanças sociais influenciam as formas de culto

Qual o poder de influência das mudanças sociais nos estilos de cultos? A realidade é que a Religião não é isenta de sofrer influências das mudanças políticas e sociais. Esta pesquisa analisa e compara dois momentos em que o Cristianismo sofreu influências das mudanças ocorridas na sociedade. O primeiro momento está baseado na Epístola de Hebreus, ainda nos primeiros séculos da era cristã, quando conseguiu se desvincular da Liturgia Judaica e formar um discurso litúrgico próprio. O outro momento estudado é a época atual, onde os cultos têm recebido grande influência das mudanças que a sociedade vem sofrendo. Em ambas as épocas é possível apontar uma luta entre a Tradição e a Modernidade, entre o velho e o novo, entre o que esta estabelecido e o aquilo que quer espaço a fim de se estabelecer

A IGREJA DO NAZARENO: DOS PRIMÓRDIOS (1895) AO CINQUENTENÁRIO NO BRASIL (2008)

Este trabalho é uma descrição e análise sócio-histórica da Igreja do Nazareno nos aspectos mais importantes que contribuíram para sua inserção e expansão no Brasil. Descrevemos a trajetória formativa dessa Igreja nos Estados Unidos, partindo das considerações históricosociológicas dos valores teológicos que ela agrega, como o Arminianismo, a tradição wesleyana e a doutrina da santidade. Buscamos entender, primordialmente, como se deu o processo de inserção e expansão da Igreja do Nazareno no Brasil, sua estrutura de governo, sua prática litúrgica, a formação de pastores, a forma de agregação de membros e a relação que se estabelece entre esses pastores e os membros. O estudo sobre essa denominação ainda é incipiente no meio acadêmico brasileiro, assim, buscamos suplantar a ausência de informações sobre ela, nesse meio. Portanto, ressaltamos os aspectos de um enfoque sócio histórico institucional que podem se distanciar da forma eclesial como os próprios nazarenos compreendem sua denominação. Na abordagem desse objeto, enfatizamos a pesquisa bibliográfica, a análise documental, a utilização de recursos audiovisuais, bem como a observação participante. Este trabalho possibilitou o entendimento de que a Igreja do Nazareno, desde seus primórdios, conduz sua prática pela distinção no meio protestante em que se insere. No caso do Brasil, em que existem muitas outras denominações, a Igreja se firma sobre sua principal distinção, a doutrina da santidade, a qual, por um enfoque da teoria das economias religiosas, tem servido de produto para atender determinado nicho do mercado religioso brasileiro.

Towards an integrative theory of religion and politics

In the social sciences, debate on the relationship between religion and politics is mainly the subject of analysis in the sociology of religion and the theory of international relations. While each of these fields promotes different approaches to study their interdependency. The individual's perception of religion and politics is neglected by current research. The faithful, who participates in religious ceremonies, listening and behaving according to specific religious teachings, actively engaging in the liturgical life of the institutional form of his religion, has a specific way of understanding the relationship between religion and politics. I argue that this aspect is under-researched and misrepresented in the literature of sociology and international relations. However, a more complex analysis is offered by the study of nationalism, and especially by its ethnosymbolic approach, which includes at the micro and macro societal level the presence of myths and symbols as part of the individual's and the nation's life. An integrative theory analysing the connection between religion and politics takes into account the role of myths and symbols from the perspectives of both individuals and ethnic communities.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Computer Processing of Medieval Slavic Sources in the Institute of Literature at BAS Repertorium Project (1994–2004)

Mixed-content miscellanies (very frequent in the Byzantine and mediaeval Slavic written heritage) are usually defined as collections of works with non-occupational, non-liturgical application, and texts in them are selected and arranged according to no identifiable principle. It is a “readable” type of miscellanies which were compiled mainly on the basis of the cognitive interests of compilers and readers. Just like the occupational ones, they also appeared to satisfy public needs but were intended for individual usage. My textological comparison had shown that mixed- content miscellanies often showed evidence of a stable content – some of them include the same constituent works in the same order, regardless that the manuscripts had no obvious genetic relationship. These correspondences were sufficiently numerous and distinctive that they could not be merely fortuitous, and the only sensible interpretation was that even when the operative organizational principle was not based on independently identifiable criteria, such as the church calendar, liturgical function, or thematic considerations, mixed-content miscellanies (or, at least, portions of their contents) nonetheless fell into types. In this respect, the apparent free selection and arrangement of texts in mixed-content miscellanies turns out to be illusory. The problem was – as the corpus of manuscripts that I and my colleagues needed to examine grew – our ability to keep track of the structure of each one, and to identify structural correspondences among manuscripts within the corpus, diminished. So, at the end of 1993 I addressed a letter to Prof. David Birnbaum (University of Pittsburgh, PA) with a request to help me to solve the problem. He and my colleague Andrey Boyadzhiev (Sofia University) pointed out to me that computers are well suited to recording, processing, and analyzing large amounts of data, and to identifying patterns within the data, and their proposal was that we try to develop a computer system for description of manuscripts, for their analysis and of course, for searching the data. Our collaboration in this project is now ten years old, and our talk today presents an overview of that collaboration.

Editorial

The year so far has been a slow start for many businesses, but at least we have not seen the collapse of as many businesses that we were seeing around two years ago. We are, however, still well and truly in the midst of a global recession. Interest rates are still at an all time low, UK house prices seem to be showing little signs of increase (except in London where everyone still seems to want to live!) and for the ardent shopper there are bargains to be had everywhere. It seems strange that prices on the high street do not seem to have increased in over ten years. Mobile phones, DVD players even furniture seems to be cheaper than they used to be. Whist much of this is down to cheaper manufacturing and the rest could probably be explained by competition within the market place. Does this mean that quality suffered too? Now that we live in a world when if a television is not working it is thrown away and replaced. There was a time when you would take it to some odd looking man that your father would know who could fix it for you. (I remember our local television fix-it man, with his thick rimmed bifocal spectacles and a poor comb-over; he had cardboard boxes full of resistors and electrical wires on the floor of his front room that smelt of soldering irons!) Is this consumerism at an extreme or has this move to disposability made us a better society? Before you think these are just ramblings there is a point to this. According to latest global figures of contact lens sales the vast majority of contact lenses fitted around the world are daily, fortnightly or monthly disposable hydrogel lenses. Certainly in the UK over 90% of lenses are disposable (with daily disposables being the most popular, having a market share of over 50%). This begs the question – is this a good thing? Maybe more importantly, do our patients benefit? I think it is worth reminding ourselves why we went down the disposability route with contact lenses in the first place, and unlike electrical goods it was not just so we did not have to take them for repair! There are the obvious advantages of overcoming problems of breakage and tearing of lenses and the lens deterioration with age. The lenses are less likely to be contaminated and the disinfection is either easier or not required at all (in the case of daily disposable lenses). Probably the landmark paper in the field was the work more commonly known as the ‘Gothenburg Study’. The paper, entitled ‘Strategies for minimizing the Ocular Effects of Extended Contact Lens Wear’ published in the American Journal of Optometry in 1987 (volume 64, pages 781-789) by Holden, B.A., Swarbrick, H.A., Sweeney, D.F., Ho, A., Efron, N., Vannas, A., Nilsson, K.T. They suggested that contact lens induced ocular effects were minimised by: •More frequently removed contact lenses •More regularly replaced contact lenses •A lens that was more mobile on the eye (to allow better removal of debris) •Better flow of oxygen through the lens All of these issues seem to be solved with disposability, except the oxygen issue which has been solved with the advent of silicone hydrogel materials. Newer issues have arisen and most can be solved in practice by the eye care practitioner. The emphasis now seems to be on making lenses more comfortable. The problems of contact lens related dry eyes symptoms seem to be ever present and maybe this would explain why in the UK we have a pretty constant contact lens wearing population of just over three million but every year we have over a million dropouts! That means we must be attracting a million new wearers every year (well done to the marketing departments!) but we are also losing a million wearers every year. We certainly are not losing them all to the refractive surgery clinics. We know that almost anyone can now wear a contact lens and we know that some lenses will solve problems of sharper vision, some will aid comfort, and some will be useful for patients with dry eyes. So if we still have so many dropouts then we must be doing something wrong! I think the take home message has to be ‘must try harder’! I must end with an apology for two errors in my editorial of issue 1 earlier this year. Firstly there was a typo in the first sentence; I meant to state that it was 40 years not 30 years since the first commercial soft lens was available in the UK. The second error was one that I was unaware of until colleagues Geoff Wilson (Birmingham, UK) and Tim Bowden (London, UK) wrote to me to explain that soft lenses were actually available in the UK before 1971 (please see their ‘Letters to the Editor’ in this issue). I am grateful to both of them for correcting the mistake.

Keynote Address by Karim Rashid

Karim Rashid is one of the most prolific designers of his generation. Over 3000 designs in production, over 300 awards and working in over 35 countries attest to Karim’s legend of design. Karim’s diversity affords him the ability to cross-pollinate ideas, materials, behaviors, aesthetics from one typology to the next, crossing boundaries and broadening consumer horizons. His award winning designs include democratic objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, interiors such as the Morimoto restaurant, Philadelphia and Semiramis hotel, Athens and exhibitions for LG Hausys and Audi. Karim has collaborated with clients to create democratic design for Method and Dirt Devil, furniture for Artemide and Magis, brand identity for Citibank and Hyundai, high tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski, to name a few. Karim has recently been selected to design several real estate developments in New York City for HAP Investments, a New York City based International investment group. Karim’s work is featured in 20 permanent collections and he exhibits art in galleries world wide. Karim is a perennial winner of the Red Dot award, Chicago Athenaeum Good Design award, I.D. Magazine Annual Design Review, IDSA Industrial Design Excellence award. He holds honorary doctorates from the Ontario college of Art & Design and Corcoran College of Art & Design. 2011 highlighted Karim’s largest retrospective to date at the Triennale, in Milan, Italy. Karim is a frequent guest lecturer at universities and conferences globally disseminating the importance of design in everyday life. Karim has been featured in magazines including Time, Financial Times, NY Times, Esquire, GQ and countless more. His books include From the Beginning, Forma Edizioni (2014), Sketch, Frame (2012), a monograph of 300 drawings and computer renderings of selected works, KarimSpace, Rizzoli (2009), Design Your Self, Harper Collins (2006), Evolution, Rizzoli (2004) and I Want to Change the World, Universe (2001). In his spare time Karim’s pluralism flirts with art, fashion, and music and is determined to creatively touch every aspect of our physical and virtual landscape.

A educação como instrumento na construção do imaginário republicano: Grupo Escolar Barão de Mipibu (1909-1920)

The purpose of this study is to search the school group Barão de Mipibú/RN, which is located in a city called São José de Mipibú. The aim of this work is to discuss about the use of education as a tool for the formation of the republican imaginary society norte-riograndense. We defined a period from 1909 through 1920. The choice of this work is about how this could be important to the Brazilian History of Education and local, as well as for Cultural History and extends to studies of everyday school life and history of school disciplines. Their achievement was through bibliography search and document analysis. The first was through a review of bibliography on the national and local historiography about the School Groups and productions of the Brazilian Republic. The last one, through the following sources, namely, just the same building of the school group Barão de Mipibú, furniture inventories, class daily, terms of visits of Education Directors and reports of the Directors, book Our History by Rocha Pombo, Educational Legislation, Legislative Congress posts, the decree of creation of School Groups, in particular Barão de Mipibú and the Group Model Augusto Severo, as well as the internal statute and finally, interviews with Alumni of the 50s. The study is inserted in the history of education and as the theoretical to assist in the analysis of sources on the imagination of the study, we looked for support in Jacques Le Goff (1994), Bronislaw Bazcko (1985), Cornelius Castoriadis (1982). At the end of this work it was possible to get the understanding that the Republican government found in the educational Field, one way to spread their ideals and collaboration in building the social Imaginary of the republic, which was constituted in the early twentieth century.

Uma reflexão sobre a vitalidade urbana das praças de Natal/RN

Squares are urban public open spaces whose use combines a number of elements that can provide their vitality, some of which can be enhanced through strategic projects. Given this general framework, the starting question which triggered this thesis: Would the elements that the literature indicate influence the vitality of the squares be perceived by their users? The hypothesis put forward was that users give priority to elements directly involved in the appropriation of space, especially the furniture and existing equipment, levels of shade and security. The focus of empirical research were public squares located in the city of Natal-RN, with the aim to identify elements that contribute to the vitality of the public squares in the city, through the relationship between spatial morphology and environmental awareness. The methodology adopted was a Case Study conducted by multimethod, using the following procedures: morphological analysis based on literature and information at three levels (radius of influence, 500m; immediate surroundings; environment itself); systematic observation (behavioral mapping centred in the location); and semi-structured interviews with users. The results showed that the public spaces more integrated in the urban areas have greater potential for use, however, its effective use depends on the perception of individuals, so that its vitality is mainly due to items identified by users as central to their continued presence in the environment because they directly affect their wellbeing and the image of the location. So some elements, notably furniture and urban equipment, are more easily detected than others, revealing that they are essential to the perception of users, so that their presence, quality and location appeared to have greater impact on use. In addition, the amount of shade and security showed as items that ensure that individuals experience public spaces more often, since the (likely) users are aware of the conservation actions or abandonment that take place on these sites, revealing itself to be potentially involved in the rescue of these spaces. Overall, the general hypothesis is only partially proven because in many situations, the vitality of squares appeared not only to be related to the elements investigated, but also additional aspects - environmental, nature, economic, social and cultural - which should also be studied.

Quedas em idosos assistidos na estratégia saúde da família: frequência e fatores associados

The growth of the elderly population is a global phenomenon and, in Brazil, this transformation is happening in a very rapid rhythm. With the current population aging, this emerging age group will need more health care and attention. One of the characteristics of the population aging is the progressive accumulation of disabilities, which makes it more vulnerable to falls. This study was developed with the purpose of knowing the episode falls in the scope of an elderly population treated at a Family Health Unit. It is a research with cross-sectional nature, and its sample was composed by 121 elderly. The research was approved by the Ethics Committee of HUOL, with Opinion nº 816.022. We applied a questionnaire to the participants, and the results were statistically analyzed by using Chi-square test and Fisher’s exact test to verify the association between variables. In order to perform a multivariate analysis, we used the method of the Binomial Logistic Regression. For both tests, we accepted significance p<0,05 and CI of 95%. The results prove that the majority belongs to the female gender (76,9%); the age group of elderly reaches 88,4% and 11,6% is over-aged; regarding the marital status, 35,3% are married and 29,4% widowed; 92,1% with family income between one and two minimum wages; and 91,8% live with their partners and/or children. Regarding the frequency of falls, we found that 61,2% of the surveyed elderly suffered one or more falls in 2014. As associated factors, it became clear that 73,8% were due to extrinsic factors, 6,4% to intrinsic factors and 21,4% to both factors. As a consequence of the fall, we found that 89,2% have fear of falling again, 37,3% showed anxiety and 13,3% had their ambulation affected. Concerning the exposure to the risk factors, the most prevalent places were: street/avenue (31,0%), pavement (19,0%), living room (14,3%) and courtyard/backyard (10,7%). The study has proven a statistically significant association among female gender (p=0,001), rubble/objects in the backyard (p=0,015) and furniture that may cause accidents (p=0,005). It was evident among the elderly people surveyed, 72.7% receive little information about falls, being a risk factor for falls. We conclude that there is a high frequency of falls in the surveyed elderly, thereby constituting a worrisome data because this event in the elderly population is a serious matter, which raises the need to ensure them a safe environment in their homes and, above all, outside them. The information provided by the Family Health Strategy team are important to avoid these occurrences, which reinforces the need for developing health education activities together with the population as a way to prevent and reduce the occurrence of falls, thereby improving the quality of life of elderly.

ESPÍRITOS DO UNIVERSO RESPONSÁVEIS PELO DESTINO: ESTUDO EXEGÉTICO EM COLOSSENSES 2.8-3.4

Esta dissertação de mestrado analisará a expressão grega ta. stoicei/a tou/ ko,smou, “os elementos do mundo”, que ocorre na carta de Colossenses nos versículos 8 e 20 do segundo capítulo. Será feito um estudo exegético na perícope bíblica 2.8-3.4 da referida carta, bem como uma análise histórica especificamente do termo stoicei/a. O estudo desta expressão é importante para poder se compreender a filosofia colossense mencionada em Cl 2.8. A igreja cristã na cidade de Colossos estava inserida em um contexto social religioso sincrético. Esse sincretismo é percebido claramente em textos de magia como os Papiros Mágicos Gregos, muito comuns na região da Ásia Menor, a mesma onde a igreja colossense estava situada. O sincretismo religioso, envolvendo crenças judaicas e pagãs, reflete as bases dessa filosofia. O autor da carta aos Colossenses refuta a crença nos “elementos do mundo”, bem como a subserviência aos mesmos. Dentre outras crenças, acreditava-se que esses “elementos” poderiam influenciar os acontecimentos sobre a terra e o destino das pessoas. Questões que envolvem práticas acéticas, adoração a anjos e observância de calendário litúrgico, dão os contornos dessa filosofia. O autor da carta enfatiza o senhorio de Cristo, bem como as obras dele em favor dos cristãos colossenses, que proporcionavam a eles, segurança quanto a terem um bom destino. E, além disso, é assegurada uma liberdade aos cristãos colossenses que não podia lhes ser cerceada por quaisquer outras crenças religiosas. Então, as obras de Cristo, bem como o seu senhorio, são os principais argumentos utilizados pelo autor da carta, a fim de afirmar aos cristãos em Colossos que eles não precisam mais temer o destino e nem se submeter aos “elementos do mundo”.

The Effects of Brominated Flame Retardants on Thyroid Hormone Homeostasis in Human Placenta Tissues and Cell Culture

Polybrominated diphenyl ethers (PBDEs) are a class of brominated flame retardants (BFRs) that have been heavily used in consumer products such as furniture foams, plastics, and textiles since the mid-1970’s. BFRs are added to products in order to meet state flammability standards intended to increase indoor safety in the event of a fire. The three commercial PBDE mixtures, Penta-, Octa-, and DecaBDE, have all been banned in the United States, however, limited use of DecaBDE is still permitted. PBDEs were phased out of production and added to the Stockholm Convention due to concerns over their environmental persistence and toxicity. Human exposure to PBDEs occurs primarily through the inadvertent ingestion of contaminated house dust, as well as though dietary sources. Despite the phase-out and discontinued use of PBDEs, human exposure to this class of chemicals is likely to continue for decades due to the continued use of treated products and existing environmental reservoirs of PBDEs. Extensive research over the years has shown that PBDEs disrupt thyroid hormone (TH) levels and neurodevelopmental endpoints in rodent and fish models. Additionally, there is growing epidemiological evidence linking PBDE exposure in humans to altered TH homeostasis and neurodevelopmental impairments in children. Due to the importance of THs throughout gestation, there is a great need to understand the effects of BFRs on the developing fetus. Specifically, the placenta plays a critical role in the transport, metabolism, and delivery of THs to the fetal compartment during pregnancy and is a likely target for BFR bioaccumulation and endocrine disruption. The central hypothesis of this dissertation research is that BFRs disrupt the activity of TH sulfotransferase (SULT) enzymes, thereby altering TH concentrations in the placenta.

In the first aim of this dissertation research, the concentrations of PBDEs and 2,4,6-TBP were measured in a cohort of 102 placenta tissue samples from an ongoing pregnancy cohort in Durham, NC. Methods were developed for the extraction and analysis of the BFR analytes. It was found that 2,4,6-TBP was significantly correlated with all PBDE analytes, indicating that 2,4,6-TBP may share common product applications with PBDEs or that 2,4,6-TBP is a metabolite of PBDE compounds. Additionally, this was the first study to measure 2,4,6-TBP in human placenta tissues.

In the second aim of this dissertation research, the placenta tissue concentrations of THs, as well as the endogenous activity of deiodinase (DI) and TH SULT enzymes were quantified using the same cohort of 102 placenta tissue samples. Enzyme activity was detected in all samples and this was the first study to measure TH DI and SULT activity in human placenta tissues. Enzyme activities and TH concentrations were compared with BFR concentrations measured in Aim 1. There were few statistically significant associations observed for the combined data, however, upon stratifying the data set based on infant sex, additional significant associations were observed. For example, among males, those with the highest concentrations of BDE-99 in placenta had T3 levels 0.80 times those with the lowest concentration of BDE-99 (95% confidence interval (CI): 0.59, 1.07). Whereas females with the highest concentrations of BDE-99 in placenta had T3 levels 1.50 times those with the lowest concentration of BDE-99 (95% CI: 1.10, 2.04). Additionally, all BFR analyte concentrations were higher in the placenta of males versus females and they were significantly higher for 2,4,6-TBP and BDE-209. 3,3’-T2 SULT activity was significantly higher in female placenta tissues, while type 3 DI activity was significantly higher in male placenta tissues. This research is the first to show sex-specific differences in the bioaccumulation of BFRs in human placenta tissue, as well as differences in TH concentrations and endogenous DI and SULT activity. The underlying mechanisms of these observed sex differences warrant further investigation.

In the third aim of this dissertation research, the effects of BFRs were examined in a human choriocarcinoma placenta cell line, BeWo. Michaelis-Menten parameters and inhibition curves were calculated for 2,4,6-TBP, 3-OH BDE-47, and 6-OH BDE-47. 2,4,6-TBP was shown to be the most potent inhibitor of 3,3’-T2 SULT activity with a calculated IC50 value of 11.6 nM. It was also shown that 2,4,6-TBP and 3-OH BDE-47 exhibit mixed inhibition of 3,3’-T2 sulfation in BeWo cell homogenates. Next, a series of cell culture exposure experiments were performed using 1, 6, 12, and 24 hour exposure durations. Once again, 2,4,6-TBP was shown to be the most potent inhibitor of basal 3,3’-T2 SULT activity by significantly decreasing activity at the high and medium dose (1 M and 0.5 M, respectively) at all measured time points. Interestingly, BDE-99 was also shown to inhibit basal 3,3’-T2 SULT activity in BeWo cells following the 24 hour exposure, despite exhibiting no inhibitory effects in the BeWo cell homogenate experiments. This indicates that BDE-99 must act through a pathway other than direct enzyme inhibition. Following exposures, the TH concentrations in the cell culture growth media and mRNA expression of TH-related genes were also examined. There was no observed effect of BFR treatment on these endpoints. Future work should focus on determining the downstream biological effects of TH SULT disruption in placental cells, as well as the underlying mechanisms of action responsible for reductions in basal TH SULT activity following BFR exposure.

This was one of the first studies to measure BFRs in a cohort of placenta tissue samples from the United States and the first study to measure THs, DI activity, and SULT activity in human placenta tissues. This research provides a novel contribution to our growing understanding of the effects of BFRs on TH homeostasis within the human placenta, and provides further evidence for sex-specific differences within this important organ. Future research should continue to investigate the effects of environmental contaminants on TH homeostasis within the placenta, as this represents the most critical and vulnerable stage of human development.