A CAPOEIRA DE BRAÇOS PARA O AR Um Estudo da Capoeira Gospel no ABC Paulista

Esta pesquisa estuda o processo de mudança corrente na capoeira gerada pela capoeira gospel no ABC paulista e suas regiões periféricas. Discute o viés pelo qual os evangélicos a utilizam como ferramenta de evangelização e como assimilam as suas técnicas corporais, enquanto ramificação da cultura afro-brasileira. A pesquisa de campo foi realizada por meio de entrevistas semi-estruturadas com pastores evangélicos, mestres de capoeira pastores e adeptos da capoeira em igrejas pentecostais, neopentecostais e em academias seculares da região. O movimento da capoeira gospel é um fenômeno recente e em crescimento. Com princípios baseados na Bíblia, desestruturam os alicerces da capoeira secular que tem sua base nas tradições culturais de origem africana, que funde mitos, ritos e esporte.(AU)

EVOCAÇÃO POÉTICA : O velar e o desvelar da obra pictórica Menino morto de Cândido Portinari à luz das concepções de Paul Tillich e de Martin Heidegger sobre as artes

A arte sempre esteve presente entre os humanos como um grande mistério. Sua característica polissêmica nos desafia a pensá-la como algo sempre aberto. Isto é, livre para que os indivíduos a experimentem de formas diversas. Nossa intenção, ao escolher a tela Menino morto do pintor Cândido Portinari, é mostrar que o encontro com uma obra de arte é forçosamente atual, vivo, surpreendente, extraordinário... Não apenas como um mero objeto de prazer, mas, sobretudo, como possibilidades de desvelar experiências originárias, abrindo gamas de sentidos que ajudam os seres humanos a significar a própria existência. Para seguir na investigação, privilegiam-se, nesta dissertação, os estudos sobre as artes do teólogo Paul Tillich e do filósofo Martin Heidegger. Para Tillich, numa obra de arte deve-se buscar o que se esconde no inaparente, pois é aí que reside a sua substância. Assim, na arte, como em qualquer manifestação cultural, por mais secular que aparente ser, se expressa sempre uma preocupação última. Para Heidegger, a arte é fonte de revelação da verdade. Todavia, essa revelação traz em si o ocultamento da mesma verdade, posto que a verdade e a não-verdade acontecem simultaneamente na obra de arte. Portanto, à luz dos estudos feitos por esses dois autores, tentamos captar o desnudar de Menino morto .(AU)

DISCURSOS E PRÁTICAS FUNDAMENTALISTAS NA IGREJA PRESBITERIANA DO BRASIL (2002-2008) UMA ANÁ-LISE DA PRETENSA POSIÇÃO DE EQÜIDISTÂNCIA DOS EXTREMOS FUNDAMENTALISTAS E LIBERAIS

Em diversas ocasiões, os líderes da Igreja Presbiteriana do Brasil revelaram o desejo de uma eqüidistância teológica dos extremos liberais e fundamentalistas. Entretanto, os dis-cursos e as práticas dessa instituição eclesiástica contrastam com esse posicionamento ofici-al. Além disso, essa pretensa posição de eqüidistância dos extremos liberais e fundamenta-listas não denota fronteiras rígidas, mas é um instrumento eficaz de legitimação do poder nos momentos de reconfiguração do campo religioso, principalmente em situações de crises internas. Outrossim, após a redemocratização do Brasil e o conseqüente aumento de plura-lismo religioso, houve a transformação do campo social brasileiro, provocando dificuldades em setores mais conservadores dessa instituição. Atualmente, procura-se revitalizar a pró-pria tradição religiosa diante das ameaças de sua dissolução impostas pelos processos e-mancipatórios modernos e pela influência das concepções seculares e supostamente atéias da vida (como o feminismo, a luta em defesa dos direitos reprodutivos, a união civil entre pessoas do mesmo sexo, o chamado ―movimento de lésbicas, gays, bissexuais, travestis e transgêneros‖ etc.). No campo religioso, os resultados imediatos dessa postura de reação em face das transformações sociais impostas pela modernidade são: (1) misoginia; (2) aquela manifestação de ativismo político-religioso de caráter conservador os protestantes de pen-dor fundamentalista, cuja expansão no Brasil se vem processando há muitas décadas, em ritmo sabidamente veloz, com base em um modelo de proselitismo muito bem-sucedido entre as camadas mais pobres da população brasileira, por todo território nacional.(AU)

Corpos mortos e vivos: as cerimônias mortuárias e as representações da morte entre católicos brasileiros

Esta pesquisa procurou descrever, analisar e comparar as cerimônias mortuárias e as representações coletivas de católicos brasileiros da morte e do luto. Tivemos por objetivo estudar os sistemas simbólicos desenvolvidos em várias sociedades, começando com as culturas tribais, passando depois para o cristianismo dos primeiros séculos, antes da instauração do processo de institucionalização que originou o cristianismo católico e durante ele. Analisamos as práticas e representações católicas relacionadas com a morte e o morrer, na Idade Média, Idade Moderna e Contemporânea, tanto na Europa como no Brasil. O objetivo também foi apresentar os ritos mortuários como formas de dar sentido à vida, de reforçar e manter a coesão social, em que indivíduos vivem constantemente os desarranjos gerados pela presença da morte que arrebata um dos seus semelhantes provocando um desequilíbrio social. Ao realizar tal pesquisa sobre os rituais mortuários católicos, a meta consistiu em avançar um pouco mais no conhecimento sobre um fenômeno social religioso nem sempre abordado pelos pesquisadores: a morte do crente, as práticas mortuárias dos grupos católicos, seus hábitos e discurso quanto ao morto, dentro de um cenário brasileiro que se torna cada vez mais urbano e secularizado.(AU)

CULTURA ORGANIZACIONAL, REPRESENTAÇÕES DE GÊNERO E RELIGIÃO: TENSÕES, CONTRADIÇÕES E TENDÊNCIAS

Nas sociedades ocidentais contemporâneas, racionais e secularizadas, a religião é freqüentemente representada como externa à razão‟ e de foro ìntimo, idéias estas implìcitas na máxima religião não se discute‟. Ela estaria no campo oposto, portanto, daquele do mundo organizacional, sujeito à racionalidade, à objetividade do cálculo e à impessoalidade e do qual se abstrairiam o mundo privado da religião, das atividades domésticas e tudo o mais que se supõe ser de caráter pessoal e avesso ao cálculo. A idéia de que a igualdade entre os sexos já está consumada também faz parte do imaginário contemporâneo: a maior autonomia e presença das mulheres no espaço público, particularmente o aumento da sua participação no mercado de trabalho, seriam evidências de que a igualdade constitui uma batalha ganha. No entanto as representações de gênero continuam a configurar tal presença (ou ausência) feminina no mercado de trabalho. Da mesma maneira, as idéias religiosas e acerca das religiões não são passíveis de confinamento a tempos e espaços precisos, do culto, da meditação ou da prática religiosa. Tanto as representações de gênero quanto aquelas acerca da religião e da diversidade religiosa interpenetram o espaço público, o dia-a dia da vida e das relações sociais, as relações de gênero e de trabalho. Elas se inscrevem nas normas e práticas organizacionais, nas técnicas de gestão e os/a próprios sujeitos trabalhadores/as também bricolam e transitam entre esses mundos na construção das suas competências e na gestão da sua atividade profissional. A pergunta por aspectos e maneiras pelas quais representações de gênero, da religião e da diversidade religiosa, suas especificidades em determinado contexto social, se desdobram e entrecruzam em percepções e práticas no ambiente organizacional, e vice-versa, em que medida estas apontam para tensões e tendências presentes na sociedade circundante, constitui-se no fio condutor da presente tese. Além de pesquisa bibliográfica a metodologia contempla pesquisa de campo em duas organizações empresariais francesas no Brasil e na França.

AS PARCERIAS PÚBLICO-PRIVADAS NA EDUCAÇÃO INFANTIL: UM ESTUDO SOBRE A LAICIDADE DO ESTADO E A RELIGIOSIDADE DE INSTITUIÇÕES CONVENIADAS

Uma das políticas mais utilizadas pelo poder publico municipal para garantir o atendimento educacional às crianças de 0 a 3 anos e a ampliação do número de vagas em creches, tem sido a adoção de parcerias por meio de convênios com instituições privadas. Muitas questões emergem desta política pública como, por exemplo, a relação entre a laicidade do Estado e a religiosidade de grande parte destas instituições. Este estudo surgiu da necessidade de se dar maior transparência e ampliar o debate sobre os convênios entre o poder público municipal e entidades assistenciais, principalmente, no que tange o embate entre o público e o privado, entre o laico e o religioso. Este trabalho teve como objetivo investigar as parcerias público-privadas e os possíveis impactos sobre a laicidade do Estado e o direito à Educação. O problema de pesquisa posto foi o que o Parecer CME 12/2011 revela sobre a laicidade do Estado e a religiosidade das instituições conveniadas no atendimento a educação infantil do município de São Bernardo do Campo? Havia a hipótese de que a representação de uma entidade conveniada ao Conselho Municipal de Educação sobre educação espiritual expressasse uma possível projeção de ensino religioso na educação infantil pública. A discussão teórica envolveu autores como FISCHMANN (2009), ARELARO (2008), SARMENTO (2006), ADRIÂO (2009), OLIVEIRA (2005) e ideias que tratavam das deformações dos interesses públicos e privados, da oferta de vagas no seguimento de creche, do ensino religioso em escola pública. A metodologia empregada foi analise bibliográfica e documental. A literatura aponta uma histórica subordinação da educação infantil pública à assistência social privada e as disputas pela implantação do ensino religioso na educação básica pública. Os documentos analisados revelaram que é possível haver certo grau de comprometimento da laicidade do Estado quando se formaliza parcerias com entidades assistenciais de origem religiosa, principalmente, quando se avalia as deficiências e tendências de gestão e supervisão dos convênios realizados pelo poder público. Acredita-se que este estudo abre portas para novas investigações sobre políticas e práticas que enfrentam ou estimulam o ensino religioso em escolas públicas e creches conveniadas.

EDUCAÇÃO, CIÊNCIA E DOUTRINAS RELIGIOSAS: RELAÇÕES E REPERCUSSÕES PARA AS ESCOLAS PÚBLICAS

O presente estudo investiga repercussões existentes, para as escolas públicas, entre os conteúdos científicos curriculares ministrados e as orientações doutrinárias de denominações religiosas cristãs. Estes impactos ocorrem principalmente em relação a duas temáticas: 1) direitos sexuais e reprodutivos e questões de gênero; 2) criacionismo versus evolucionismo. A metodologia utilizada consistiu em uma pesquisa qualitativa, documental, composta também pela análise de conteúdo e por uma revisão de literatura. A pesquisa documental foi realizada por meio do site de buscas Google, no período de agosto de 2011 a setembro de 2014. Após o levantamento de inúmeros sites e blogs, foram selecionados 28 textos, publicados em 11 sites e 5 blogs de 9 denominações religiosas cristãs: Assembleia de Deus, Igreja Adventista do Sétimo Dia, Igreja Universal do Reino de Deus, Testemunhas de Jeová, Igreja Evangélica de Confissão Luterana no Brasil (IECLB), Igreja Batista Lagoinha, Igreja Evangélica Cristã, Igreja Presbiteriana do Brasil e Igreja Católica Apostólica Romana. O resultado da análise destes textos possibilitou uma visão acerca de pontos de vista e relações doutrinárias em relação às temáticas pesquisadas. As denominações religiosas cristãs que abordaram a temática do Criacionismo e do Evolucionismo apresentaram um posicionamento contrário à Teoria da Evolução de Charles Darwin, pois alegaram que as teorias científicas acerca da origem do mundo e das espécies são conflitantes com o Criacionismo, ou seja, a versão do livro de Gênesis, presente na Bíblia. Em relação aos direitos sexuais e reprodutivos e questões de gêneros, os textos analisados apresentaram, em sua maioria, um posicionamento contrário à homossexualidade, anticoncepção, realização do aborto e de relações sexuais antes do casamento. Concluiu-se que a presença de conteúdos religiosos no currículo e no cotidiano escolar das escolas públicas pode gerar conflitos com os conteúdos científicos propostos pelo Ministério da Educação, comprometendo a qualidade de ensino.

Muslim Women Managing Women's Shelters : Somaya, the Muslimwoman and Religion as Resource

This article focuses on Sisters’ Shelter Somaya in Sweden, an organization unique in its claim to be a women’s shelter by and for Muslim women, and in its combining of Islamic and secular feminisms. Examining the organization’s self-presentations, the author argues that there is, however, an ongoing shift from an emphasis on its Muslim profile to a dissolution of the very same. Looking into potential loss in the process (for clients, activists, allies, and feminism at large), the analysis draws on current research on anti-Muslim intolerance and normative secularism. The concept of the “Muslim woman” is employed to illustrate the stereotyping that continuously associates Muslim women with “victims” inhabiting shelters rather than capable “managers”. Intersectionality is pointed at as an emic strategy adopted by Somaya to overcome division, but also critically analysed as a consensus-creating signifier that hinders diversity. Thus,the article raises the increasingly important issue of the relationship between religion, gender, and feminism in the post-secular turn, and the author calls for critical self-reflection and creative affirmation in the interaction with heterogeneous others.

Catholic literature and secularisation in France and England, 1880-1914

This book is the first comparative study of its kind to explore at length the French and English Catholic literary revivals of the late nineteenth and early twentieth centuries. It compares individual and societal secularisation in France and England and examines how French and English Catholic writers understood and contested secular mores, ideologies and praxis, in the individual, societal and religious domains. It also addresses the extent to which some Catholic writers succumbed to the seduction of secular instincts, even paradoxically in themes which are considered to be emblematic of Catholic literature. The breadth of this book will make it a useful guide for students wishing to become familiar with a wide range of such writings in France and England during this period. It will also appeal to researchers interested in Catholic literary and intellectual history in France and England, theologians, philosophers and students of the sociology of religion. CONTENTS: Preface and acknowledgements Introduction 1. Individual and societal secularisation in France and England 2. Recovering the porous individual 3. Thinking and believing 4. The fragments of secular society 5. Mending secular fragmentation 6. Ultimate societal values 7. Catholic religiosity and the hierarchical Church 8. Catholic religiosity and the charismatic Church Conclusion Bibliography Index

Orbit and altimetric corrections for the ERS satellites through analysis of single and dual satellite crossovers

Due to the failure of PRARE the orbital accuracy of ERS-1 is typically 10-15 cm radially as compared to 3-4cm for TOPEX/Poseidon. To gain the most from these simultaneous datasets it is necessary to improve the orbital accuracy of ERS-1 so that it is commensurate with that of TOPEX/Poseidon. For the integration of these two datasets it is also necessary to determine the altimeter and sea state biases for each of the satellites. Several models for the sea state bias of ERS-1 are considered by analysis of the ERS-1 single satellite crossovers. The model adopted consists of the sea state bias as a percentage of the significant wave height, namely 5.95%. The removal of ERS-1 orbit error and recovery of an ERS-1 - TOPEX/Poseidon relative bias are both achieved by analysis of dual crossover residuals. The gravitational field based radial orbit error is modelled by a finite Fourier expansion series with the dominant frequencies determined by analysis of the JGM-2 co-variance matrix. Periodic and secular terms to model the errors due to atmospheric density, solar radiation pressure and initial state vector mis-modelling are also solved for. Validation of the dataset unification consists of comparing the mean sea surface topographies and annual variabilities derived from both the corrected and uncorrected ERS-1 orbits with those derived from TOPEX/Poseidon. The global and regional geographically fixed/variable orbit errors are also analysed pre and post correction, and a significant reduction is noted. Finally the use of dual/single satellite crossovers and repeat pass data, for the calibration of ERS-2 with respect to ERS-1 and TOPEX/Poseidon is shown by calculating the ERS-1/2 sea state and relative biases.

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.

Enhanced diabetes care to patients of south Asian ethnic origin (the United Kingdom Asian Diabetes Study):a cluster randomised controlled trial

Background - Delivery of high-quality, evidence-based health care to deprived sectors of the community is a major goal for society. We investigated the effectiveness of a culturally sensitive, enhanced care package in UK general practices for improvement of cardiovascular risk factors in patients of south Asian origin with type 2 diabetes. Methods - In this cluster randomised controlled trial, 21 inner-city practices in the UK were assigned by simple randomisation to intervention (enhanced care including additional time with practice nurse and support from a link worker and diabetes-specialist nurse [nine practices; n=868]) or control (standard care [12 practices; n=618]) groups. All adult patients of south Asian origin with type 2 diabetes were eligible. Prescribing algorithms with clearly defined targets were provided for all practices. Primary outcomes were changes in blood pressure, total cholesterol, and glycaemic control (haemoglobin A1c) after 2 years. Analysis was by intention to treat. This trial is registered, number ISRCTN 38297969. Findings - We recorded significant differences between treatment groups in diastolic blood pressure (1·91 [95% CI -2·88 to -0·94] mm?Hg, p=0·0001) and mean arterial pressure (1·36 [-2·49 to -0·23] mm?Hg, p=0·0180), after adjustment for confounders and clustering. We noted no significant differences between groups for total cholesterol (0·03 [-0·04 to 0·11] mmol/L), systolic blood pressure (-0·33 [-2·41 to 1·75] mm?Hg), or HbA1c (-0·15% [-0·33 to 0·03]). Economic analysis suggests that the nurse-led intervention was not cost effective (incremental cost-effectiveness ratio £28?933 per QALY gained). Across the whole study population over the 2 years of the trial, systolic blood pressure, diastolic blood pressure, and cholesterol decreased significantly by 4·9 (95% CI 4·0–5·9) mm?Hg, 3·8 (3·2–4·4) mm?Hg, and 0·45 (0·40–0·51) mmol/L, respectively, and we recorded a small and non-significant increase for haemoglobin A1c (0·04% [-0·04 to 0·13]), p=0·290). Interpretation - We recorded additional, although small, benefits from our culturally tailored care package that were greater than the secular changes achieved in the UK in recent years. Stricter targets in general practice and further measures to motivate patients are needed to achieve best possible health-care outcomes in south Asian patients with diabetes. Funding - Pfizer, Sanofi-Aventis, Servier Laboratories UK, Merck Sharp & Dohme/Schering-Plough, Takeda UK, Roche, Merck Pharma, Daiichi-Sankyo UK, Boehringer Ingelheim, Eli Lilly, Novo Nordisk, Bristol-Myers Squibb, Solvay Health Care, and Assurance Medical Society UK.

Negotiating ethnicity, class, and gender:German associational culture in Glasgow 1864-1914

One feature of nineteenth-century German migrant communities was a dense network of religious and secular ethnic institutions in virtually all destination countries. The article is a microhistorical study of a representative German community in Britain. Ethnic institutions in Glasgow included two protestant congregations and a variety of associations fostering sociability, culture and philanthropy. The institutions served as a platform to negotiate questions of ethnicity, class and gender. They were mostly financed by a small elite within the German business community which, in turn, used them to exercise power and confirm social stratification. In the pre-war years, ethnic life was increasingly permeated by nationalism. © 2013 Copyright Taylor and Francis Group, LLC.

'Only in the leap from the lion's head will he prove his worth':natural law and international relations

This article argues the benefits of including a theological interpretation of natural law morality within the normative discourses of international politics. It challenges the assumption of a Grotian secular natural law arguing that practical reason, in a Thomist interpretation, is better suited to the demands of international political theory. It engages with themes of agency, practical reason, and community in order to enhance the content of the post-territorial community evidenced in ethical cosmopolitan debates. Likewise, it envisions a simultaneously enhancing a rapprochement among cosmopolitan and communitarian discourses of international politics facilitated through an institutional design guided by the morality of natural law.

Ethical reporting in Islami Bank Bangladesh Limited (1983-2010)

The main aim of this study is to undertake a critical examination of the ethical and developmental performance of an Islamic bank as communicated in its annual reports over a period of 28 years (1983-2010). Islami Bank Bangladesh Limited's (IBBL hereafter) ethical performance and disclosures are further analyzed through interviews conducted with the bank's senior management. The key findings include an overall increase in ethical disclosures during the study period. However, the focus on various stakeholders' needs has varied over time reflecting the evolving nature of the Islamic finance industry over the last three decades. Based on a secular economy, IBBL focused in the first two decades on the "Particular" Shariah compliance disclosure as a way of establishing its reputation and differentiating itself from conventional banks in a dual banking system. Post 2005, the ethical performance and disclosure shifted to more "Universal" disclosures such as sustainability, charity, employees, and community related disclosures signaling responsible conduct and the bank's adoption of a "wider stakeholder approach." However the bank is still failing to provide full disclosure on certain significant categories such as sources and uses of disposable income, thereby contradicting the principles of full and comprehensive disclosure and accountability. In addition, the structure of IBBL's investment portfolio reveals an overreliance on debt-based financial instruments and a shortcoming in fulfilling the developmental and social objectives of Islamic finance. This is evidenced by the "qualified" Shariah Supervisory Board reports that the bank consistently received. This research provides further evidence that Islamic banking and Finance in its current practices reflect the "global" and the "local" influences in an era dominated by global conventional finance. © 2014 Springer Science+Business Media Dordrecht.