Cato's letters, or, Essays on liberty, civil and religious, and other important subjects /

Mode of access: Internet.

A calm inquiry into the Scripture doctrine concerning the person of Christ : to which are annexed a brief review of the controversy between Bishop Horsley and Dr. Priestley and a summary of the various opinions entertained by Christians upon this subject /

Mode of access: Internet.

Observations on several parts of Great Britain, particularly the High-lands of Scotland, relative chiefly to picturesque beauty, made in the year 1776 /

Mode of access: Internet.

The prose works of Jonathan Swift /

Includes index.

The chapters of Coming forth by day : the Egyptian text according to the Theban recension in hieroglyphic edited from numerous papyri, with a translation, vocabulary, etc. /

pt. 1. Egyptian text in hieroglyphics.--pt.2. Vocabulary.--pt. 3. Translation.

The prose works of Jonathan Swift /

First published 1897.

The works of John Knox /

Includes indexes.

The Bishop of London's visit to the front,

Inserted between p. 90 and 91; Good Friday and Easter day; thoughts and prayers for soldiers at the front, by the Bishop of london. [Edinburgh and London, Printed by Ballantyne, Hanson & xo. ltd., 1915] 7, [1] p. illus. 11 cm.

How can experience in clinical and community settings contribute to early medical education? A BEME systematic review

Review date: Review period January 1992-December 2001. Final analysis July 2004-January 2005. Background and review context: There has been no rigorous systematic review of the outcomes of early exposure to clinical and community settings in medical education. Objectives of review: (1) Identify published empirical evidence of the effects of early experience in medical education, analyse it, and synthesize conclusions from it. (2) Identify the strengths and limitations of the research effort to date, and identify objectives for future research. Search strategy: Ovid search of. BEI, ERIC, Medline, CIATAHL and EMBASE Additional electronic searches of: Psychinfo, Timelit, EBM reviews, SIGLE, and the Cochrane databases. Hand-searches of: Medical Education, Medical Teacher, Academic Medicine, Teaching and Learning in Medicine, Advances in Health Sciences Education, Journal of Educational Psychology. Criteria: Definitions: Experience: Authentic (real as opposed to simulated) human contact in a social or clinical context that enhances learning of health, illness and/or disease, and the role of the health professional. Early: What would traditionally have been regarded as the preclinical phase, usually the first 2 years. Inclusions: All empirical studies (verifiable, observational data) of early experience in the basic education of health professionals, whatever their design or methodology, including papers not in English. Evidence from other health care professions that could be applied to medicine was included. Exclusions: Not empirical; not early; post-basic; simulated rather than 'authentic' experience. Data collection: Careful validation of selection processes. Coding by two reviewers onto an extensively modified version of the standard BEME coding sheet. Accumulation into an Access database. Secondary coding and synthesis of an interpretation. Headline results: A total of 73 studies met the selection criteria and yielded 277 educational outcomes; 116 of those outcomes (from 38 studies) were rated strong and important enough to include in a narrative synthesis of results; 76% of those outcomes were from descriptive studies and 24% from comparative studies. Early experience motivated and satisfied students of the health professions and helped them acclimatize to clinical environments, develop professionally, interact with patients with more confidence and less stress, develop self-reflection and appraisal skill, and develop a professional identity. It strengthened their learning and made it more real and relevant to clinical practice. It helped students learn about the structure and function of the healthcare system, and about preventive care and the role of health professionals. It supported the learning of both biomedical and behavioural/social sciences and helped students acquire communication and basic clinical skills. There were outcomes for beneficiaries other than students, including teachers, patients, populations, organizations and specialties. Early experience increased recruitment to primary care/rural medical practice, though mainly in US studies which introduced it for that specific purpose as part of a complex intervention. Conclusions: Early experience helps medical students socialize to their chosen profession. It. helps them acquire a range of subject matter and makes their learning more real and relevant. It has potential benefits for other stakeholders, notably teachers and patients. It can influence career choices.

O RITUAL COMO ESPAÇO DE CRIAÇÃO E SUSTENTAÇÃO DO GRUPO RELIGIOSO: UMA APROXIMAÇÃO À SANTERÍA OU REGLA DE OCHA

Neste trabalho busca se estudar o ritual, na Santería ou Regla de Ocha, como espaço de criação e sustentação do grupo religioso. Aqui são demonstrados e interpretados argumentos que evidenciam a pertinência da Santería como sistema religioso que ajuda as pessoas a lidarem com as profundas mudanças sociais que aconteceram e continuam a acontecer na sociedade cubana nos diferentes períodos históricos. Isto, devido a que o ritual na Santería é um espaço dinâmico onde se experimentam as relações individuais e coletivas, sociais e religiosas, e onde se fornece pressupostos indispensáveis para as pessoas enfrentarem com os desafios que o cotidiano lhes reserva. A pesquisa destaca aspectos internos do ritual conhecido como o Wemilere ou Tambor de Santo; bem como a relação entre os sujeitos que participam no ritual, as suas motivações e os espaços litúrgicos onde a celebração acontece. Os aspectos abordados no trabalho não constituem uma apreciação definitiva sobre o ritual, mas uma aproximação a um sistema religioso de grande importância no contexto sócio-cultural cubano. (AU)

A RELIGIÃO NO CONFLITO ENTRE ISRAEL E PALESTINA NO CONTEXTO DA CRIAÇÃO DO ESTADO JUDAICO: ASPECTOS HISTÓRICOS (1896-1948)

O presente trabalho analisa o papel da religião no conflito entre Israel e Palestina, principalmente no contexto da implantação do Estado de Israel, em 1948. A análise toma como delimitação histórica do conflito o período de 1896 a 1948, quando ocorre a migração das primeiras levas de judeus para os territórios palestinos. A pergunta inicial é sobre como judeus e muçulmanos se relacionavam nos primeiros anos de imigração até a criação do Estado de Israel. O problema principal a ser esclarecido é como a construção cultural ocidental em relação aos palestinos interferiu no conflito, principalmente no que tange à tomada da terra e à construção de um novo país dentro de um já existente, socialmente, religiosamente e culturalmente. Finalmente a pesquisa pergunta pela repercussão do conflito entre israelenses e palestinos no campo religioso protestante, principalmente entre grupos conservadores e fundamentalistas deste ramo do cristianismo. A pesquisa é totalmente bibliográfica e toma como referência as teorias pós-coloniais para debater a história do território, no que se refere aos aspectos religiosos do conflito.

ASSISTÊNCIA DE SAÚDE ÀS MULHERES MUÇULMANAS NO BRASIL: UMA ANÁLISE DA RELAÇÃO ENTRE O SISTEMA RELIGIOSO ISLÂMICO E A POLÍTICA NACIONAL DE ATENÇÃO INTEGRAL À SAÚDE DA MULHER.

A presente dissertação tem por objetivo analisar os aspectos religiosos islâmicos e as implicações das relações de gênero no islam sobre a assistência de saúde às mulheres muçulmanas, e através disto, discutir a importância do conhecimento prévio do islamismo pelos profissionais de saúde para propor uma assistência de saúde congruente a estas mulheres, tendo por referência a Política Nacional de Atenção Integral à Saúde da Mulher. Esta pesquisa tem abordagem qualitativa, com o desenvolvimento de pesquisa de campo e aplicação de um roteiro de perguntas semi-estruturado, com questões relacionadas ao islamismo e à saúde das mulheres. Ao todo, foram entrevistadas dez pessoas, sendo estas: quatro mulheres revertidas ao islam, três mulheres de família muçulmana, dois sheiks e uma assistente social. As entrevistas foram realizadas no Centro de Divulgação do Islam para a América Latina e o Caribe (CDIAL) e na Assembléia Mundial da Juventude Islâmica na América Latina (WAMY).

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.

„Fern im dänischen Norden ein Bruder”:Thomas Mann und Herman Bang. Eine literarische Spurensuche

This study for the first time demonstrates and analyses the full extent of Danish impressionist writer Herman Bang’s influence on one of Germany’s major authors, Thomas Mann. Mann was an avid reader of Bang’s works and he regarded the Scandinavian writer as a kindred spirit, a “brother up north”, who “taught [him] much”. It has previously been accepted that Bang was an inspiration for Mann in his formative years. However, as this study conclusively shows, references to Bang’s works occur throughout Mann’s writings, from the early novellas to the late novels. The book argues that Mann was not only impressed by Bang’s highly individual style of impressionist writing but that his fascination for Bang’s works was to a large extent based on this author’s recurrent depiction of decadence, his handling of artistic motifs and his treatment of erotic themes. Bang’s topical focus on the problematically isolated lives of artists and aristocrats as well as his insights on the destructive nature of love and sexuality – particularly of homoerotic desire – were surprisingly similar to Mann’s own views on these topics and yet provoked him to produce heavily referenced counter versions of Bang’s works. This phenomenon is explored in the context of Mann’s struggle with his own homosexuality and the attraction that death and decadence exerted over him. Most of Mann’s writings are in that way indebted to Bang. In addition, Mann’s frequent use of homoerotic subtexts and his depiction of female characters were noticeably influenced by Bang’s literary techniques. All these different, yet closely interlinked, aspects of Mann’s creative appropriation of Bang’s works are analysed and discussed in this study. To conclude, Mann’s references to Bang’s works are schematised and an attempt is made to characterise Mann’s intertextual practice in general in the context of his famous use of irony.

Religious faith and heterosexuality:a multi-faith exploration of young adults

This paper examines the understandings and practices of 515 heterosexual religious young adults living in the UK in terms of their religious faith and sexuality. It presents qualitative and quantitative data drawn from questionnaires, interviews, and video diaries. Four themes are explored. First, participants generally understood sexuality in relation to sacred discourses. Second, regardless of gender and religious identification, the participants drew from religious (e.g. religious community) and social (i.e. friends) influences to construct their sexual values and attitudes. Third, the religious and familial spaces within which the participants inhabited were structured by heteronormative assumptions. Thus, the participants must negotiate dominant norms, particularly those pertaining to marriage and sex within it. Finally, the paper focuses on married participants, offering insights into their motivations for, and experiences of, marriage. Overall, the paper demonstrates that, like their lesbian and gay counterparts, heterosexual religious young adults also had to manage various competing and mutually-reinforcing sexual and religious norms in constructing a meaningful life.