Dissertations / Theses on the topic 'Sastres'

Tesis para optar al grado de Magíster en Historia mención Historia de Chile
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Esta investigación explora el proceso de transformación del artesanado masculino en Santiago de Chile entre 1802 y 1849. En la transición al capitalismo, diversos elementos del artesanado tradicional se vieron trastocados como resultado de la desarticulación de los gremios que velaban por la mantención de diversas prerrogativas masculinas referidas al ejercicio de los oficios y por la consiguiente introducción de nuevos actores al mercado laboral del área del vestuario. Al desaparecer las corporaciones, estos oficios, especialmente aquellos que aparecían como “adecuados al sexo” femenino, como la costura, podrán ser ejercidos tanto por hombres como por mujeres en similares modalidades de producción, generándose un campo simbólico de disputas y una transformación de las relaciones de poder entre ambos, visibles a nivel de sus vínculos cotidianos y en el espacio público.

La censure dans le théâtre espagnol de l'après-guerre. Le cas d'Alfonso Sastre présente l'action de la censure franquiste sur l'oeuvre d'un des écrivains les plus polémiques du théâtre de la période concernée, Alfonso Sastre. Le volume principal est constitué d'une première partie où l'on présente le contexte historique et littéraire qui permet de situer l'oeuvre de l'auteur ainsi que les caractéristiques essentielles de l'appareil légal de la censure. Ensuite dans une deuxième partie l'on analyse la censure sur chacune des pièces d'Alfonso Sastre lors de la publication ainsi que lors de la représentation. Puis, dans une troisième partie, l'on détermine les principales lignes d'action de la censure. Les deux volumes d'annexes réunissent des textes juridiques concernant la censure espagnole et des documents historiques relatifs à la publication et à la représentation des pièces -jusqu'en 1975- trouvées aux archives d'Alcala de Henares.

Luiz Francisco Rebello e Alfonso Sastre: o teatro de resistência sob os regimes fascistas ibéricos tem como objetivo pesquisar e analisar a literatura dramática desses dois artistas e escritores contemporâneos, representantes de suas gerações literárias, que produziram peças originais, perturbadoras, mordazes, engajadas ideologicamente contra os regimes autoritários da península ibérica e, por esse fato, foram sistematicamente censurados. O trabalho tem como objeto a produção dramática de Francisco Rebello e Alfonso Sastre entre os anos de 1944 e 1974, anos marcados pela repressão e censura do fascismo ibérico, assim como, pelo fim da segunda grande guerra, pela iminência da Guerra Fria, pela ameaça nuclear e pelo drástico cerceamento à liberdade durante os governos totalitários de Portugal e Espanha. Faremos observar alguns aspectos históricos, sociais e políticos da contínua decadência peninsular deste período, questões que aproximam ambos escritores ainda mais, e que enfaticamente influenciaram na formação dos temas, nas concepções artísticas e nas literárias dos dramas desses dois autores de povos vizinhos. Um panorama da vida e obra de cada autor, em seu respectivo contexto histórico, fez-se aqui necessário para vislumbrar o percurso realizado por cada um deles e o desenvolvimento de suas respectivas produções literárias. Testemunhas comprometidas com esse período fascista ibérico, Francisco Rebello e Alfonso Sastre, ao término da II Guerra Mundial, no prelúdio literário de suas vidas, decidiram criar uma dramaturgia de vanguarda e resistência. Peças teatrais, frutos do inconformismo de uma época conturbada e repressora; obras características de um teatro que apostava em mudanças e, sobretudo, buscava alguma reação sinestésica de suas respectivas sociedades.
Luiz Francisco Rebello and Alfonso Sastre: the theater of opposition under Iberian fascist regimes aims to research and analyze the dramatic literature of these two contemporary artists and writers, representatives of their literary generations, which produced original pieces, disturbing, spicy, ideologically engaged against the authoritarian regimes of the Iberian Peninsula, and this fact, systematically censored. The work is focused on the dramatic production of Francisco Rebello and Alfonso Sastre between the years 1944 and 1974, years marked by the collective Iberian fascism, by the end of the Second World War, the imminence of the Cold War, the nuclear threat and the drastic curtailment of freedom during the totalitarian governments of Portugal and Spain. We will look at some historical, social and political decay of the continuous period of peninsular issues that bring both further and strongly influenced the formation of the themes of artistic and literary conceptions of the tragedies of these two authors of their neighbours. A wide panel of life and work of each author in their respective historical context, it was necessary to glimpse here the route taken by each of them and develop their literary productions. Witnesses committed to this Iberian fascist period, Francisco Rebello and Alfonso Sastre, at the end of World War II, in the prelude of their literary lives, decided to create a vanguard and opposition theater. Plays, result of the nonconformity of a tumultuous and repressive time; works features a drama, which believed on changes and, especially, tried some synaesthetic reaction of their respective companies.

Nous parlons de narrateur au théâtre pour désigner un phénomène spécifique dans la dramaturgie espagnole récente: un personnage, sur scène, commence à raconter une histoire qui va être la représentation elle-même, définie alors comme la traduction en images, sons et mouvements de ses paroles. Le narrateur fonctionne comme un intermédiaire de plus dans le processus de communication théâtrale, à mi-chemin entre l'auteur, les personnages-acteurs qui jouent leur histoire, et le spectateur. Les répercussions théoriques de cette pratique dramatique sont immenses: songeons à l'altération du concept même d'énonciation théâtrale ou à la création de multiples possibilités dans la composition de la structure dramatique. Le théâtre anglo-saxon (Miller, Wilder, T. Williams. . . ), français (Claudel) et surtout le théâtre épique de Brecht ont influencé de diverses manières le théâtre espagnol, essentiellement à travers l'œuvre de Buero - théorique, sur les conceptions théâtrales de Brecht, et dramatique - et de Sastre, dont la première période s'inscrit dans la plus pure tradition "épique". Sastre et Buero utilisent enfin le narrateur comme moyen de rupture avec le théâtre conventionnel réaliste, comme facteur de distanciation. Il s'intègre ainsi dans un processus de manipulation des signes théâtraux qui vise à modifier la compétence littéraire du public, les règles d'interprétation grâce auxquelles le spectateur juge le spectacle
We call narrator in theater a specifical phenomenon in recent Spanish drama: a character, on stage, begins to tell a story which turns out to be the performance itself, then defined as a translation of his words into images, sounds and motion. The narrator works as a go-between in the process of theatrical communication, half way between the author, the characters who enact their story and the spectator. The principles that we can draw from this dramatic practice are very important - for instance, the alteration of the concept of theatrical voicing or the creation of many possibilities in the composition of the dramatic structure. The Anglo-Saxon drama (A. Miller, T. Wilder, Tennessee Williams. . . ), the French stage (Claudel) and above all Brecht’s epical theater have in many ways influenced the Spanish drama, lost of it through Alfonso Sastre's and Antonio Buero Vallejo's works. Sastre and Buero also use the narrator character as a means of breaking away from conventional realistic drama, as a distanciation factor. Such character is thus part and parcel of a more general manipulating process of theatrical signs, which aims at altering the liberary competence of the audience, the interpreting rules accordign to which the spectator judges the play

In this thesis I will discuss the influence of Sartrean themes found in Jean-Paul Sartre’s plays: No Exit (Huis clos), Les Mouches (The Flies), and Dirty Hands (Les Mains sales), on the theater of Alfonso Sastre, particularly in the plays: Death Squad (Escuadra hacia la muerte), and In the Net (En la red). In No Exit, the famous quote “Hell is other people,” sets the standard for what type of discussion Sartre initiates in his theater. I will compare the historical context and the Hells that Sartre and Sastre both experienced during their time as active playwrights and how this influences the Hellish environments the two playwrights create for their characters in each of their plays. Following this study of context, I will compare the diabolical atmospheres created in the plays, how they are created and their impacts on the characters and text.

Disertacija je usmerena na dva glavna istraživačka pitanja: na ispitivanjesloženih međuodnosa varijabli relevantnih za fenomen stres-procesa u kontekstuispitne anksioznosti i na istraživanje grešaka u sećanjima na emocije, misli iponašanja iz konkretne prošle stresne transakcije. Teorijsku bazu rada predstavlja uovoj studiji revidirana verzija modela Tejlora i Aspinvala (The Taylor and AspinwallModel, 1996), koji podrazumeva sveobuhvatan i savremen konceptualni okvir zarazumevanje komponenti generičkog pojma stresa i njihovih međusobnih relacija.Ovde validirani model obuhvata četiri grupe promenljivih: a) stresor (ispitnaanksioznost), b) suočavanje sa stresom (tri kategorije mehanizama prevladavanja:suočavanje usmereno na zadatak, suočavanje usmereno na emocije i izbegavanje), c)karakteristike ličnosti (optimizam i generalna samoefikasnost kao internalni resursi zasuočavanje sa stresom, i dve stabilne osobine ličnosti, relevantne za domenakademskog života: perfekcionizam i neuroticizam), i d) izlazne varijable stresprocesa(uspeh postignut na kolokvijumu i emocionalno stanje studenata neposrednonakon ispitne situacije).Istraživanje je sprovedeno na prigodnom uzorku od ukupno 263 studenata,koji pohađaju studije psihologije i germanistike na Filozofskom fakultetu u NovomSadu. Nacrt istraživanja koncipiran je na način, koji je omogućio prikupljanjepodataka u dva distinktivna vremena merenja: neposredno pre i odmah nakonpolaganja kolokvijuma, te mesec dana posle ove ispitne situacije. Ispitivanje prostoravarijabli stres-procesa obavljeno je primenom sledećih mernih instrumenata: upitnikza procenu ispitne anksioznosti (TAI), inventar za registrovanje načina suočavanja sakognitivnim zadacima (CITS), upitnik za merenje perfekcionizma (APS-R), skaladispozicionog optimizma (LOT-R), skala generalne samoefikasnosti (GSE), subskalaneuroticizma iz „Big Five” inventara ličnosti i upitnik za procenu pozitivnog inegativnog afektiviteta (SIAB-PANAS).Dobijeni rezultati, koji su proizišli iz razmatranja prve grupe istraživačkihpitanja, sugerišu da mehanizmi suočavanja usmereni na emocije predstavljajustatistički značajne medijatore relacija, koje postoje između visine izraženosti ispitneanksioznosti, s jedne strane, i uspeha na kolokvijumu i emocionalnog stanja ispitanikaneposredno nakon ispitne situacije, s druge strane. Nadalje, u radu su detaljnoprikazani i prodiskutovani specifični uslovi, pod kojima određeni nivo razvijenosti ispitivanih moderator varijabli (optimizam, generalna samoefikasnost, neuroticizam itri podvrste perfekcionizma) značajno menja sledeće relacije: a) ispitna anksioznost –izbor strategija za suočavanje, b) primenjeni mehanizmi prevladavanja – ishodiispitivane stresne transakcije i c) direktna veza između stresora i izlaznih varijabli.Prilikom ispitivanja memorijskih distorzija, ustanovljeno je da su studentigeneralno skloni naknadnom potcenjivanju jačine sopstvene ispitne anksioznosti, kojaje postojala u realnoj situaciji polaganja kolokvijuma, kao i precenjivanju pozitivnihishodnih emocija. Nalazi takođe sugerišu da osobina neuroticizma i uspeh postignutna testu znanja nisu u značajnoj meri delovali na greške u sećanju na osećanja izprošle stresne transakcije. Na posletku, utvrđeno je da su ispitanici relativno tačnoevocirali sećanja na primenjene strategije suočavanja, koje spadaju u kategorijeprevladavanja usmerenog na zadatak i izbegavanje, dok su potcenili jačinu i učestalostkorišćenja mehanizama suočavanja usmerenih na emocije.
The thesis is focused on two main research issues, as follows: examination ofcomplex interrelationships among variables relevant to the phenomenon of the stressprocessin the context of test anxiety and study of distortions in the memory foremotions, thoughts and behavior in a particular previous stressful transaction. Thetheoretical basis of the thesis presented in this study is a revised version of the Taylorand Aspinwall model (The Taylor and Aspinwall Model, 1996), which includes acomprehensive and contemporary conceptual framework for understanding thecomponents of a generic phenomenon of the stress concept and their mutual relations.The validated model includes four sets of variables: a) stressor (test anxiety), b)coping (three categories of coping mechanisms: task-focused coping, emotion-focusedcoping, and avoidance), c) personality traits (optimism and general self-efficacy asinternal resources for coping, and two stable personality traits relevant to the domainof academic life: perfectionism and neuroticism), and d) the output variables of thestress-process (success achieved at the colloquium and the emotional state of studentsimmediately after the test situation).The research was carried out on a sample of 263 students of Psychologystudies and German Language and Literature studies at the University of Novi Sad.The research design enabled data collection within two distinct times of measurement:immediately before and immediately after passing the colloquium (test), and a monthafter the test situation. Examination of the stress-process variable space was carriedout by application of the following measuring instruments: Test Anxiety Inventory(TAI), Coping Inventory for Task Stress (CITS), The Almost Perfect Scale-Revised(APS-R), Life Orientation Test-Revised (LOT-R), General Self-Efficacy Scale (GSE),the neuroticism subscale from the "Big Five" personality inventory, and the Serbianadaptation of the Positive and Negative Affect Schedule (SIAB-PANAS).The obtained results, which have emerged after reviewing the first set of theresearch questions, suggest that emotion-focused coping mechanisms are significantmediators of relations, which exist between the intensity of the test anxiety on onehand, and success achieved at the colloquium and the emotional state of subjectsimmediately after the test situation, on the other hand. Furthermore, the thesis presentsin details and discusses specific conditions under which a certain level of theexamined moderator variables (optimism, general self-efficacy, neuroticism, and three subtypes of perfectionism) significantly change the following relations: a) test anxiety– a choice of coping strategies, b) applied coping mechanisms - outcomes of theexamined stressful transaction and c) a direct relationship between stressors andoutput variables.When examining memory distortions, it was found that students generallytended to subsequently underestimate the strength of their own test anxiety, whichexisted in the real situation of taking the test, as well as to overestimate positiveoutcome emotions. The findings also suggested that the neuroticism trait and thesuccess achieved on the test were statistically not significant for distortions inmemory, and feelings from the previous stressful transaction. Finally, it was foundthat the subjects relatively accurately evoked memories of the applied copingstrategies, which fell into the category of the task-focused coping and avoidance, andunderestimated the strength and frequency of application of emotion-focused copingmechanisms.

La présente étude aborde la problématique de la fonction et du statut du compositeur - comme celle de son influence et de son style - au sein de la tradition musicale classique de l’Inde du Sud (musique carnatique) à travers ses trois plus grands représentants ou « Trinité carnatique » : Śyāmā Śastri (1762/63 – 1827), Tyāgarāja (1767-1847), Muttusvāmi Dīkṣitar (1775-1835). Elle se concentre sur la forme reine d’un vaste répertoire que ces trois musiciens ont portée à son apogée : le kṛti. Instrument privilégié de la mystique hindoue appelée bhakti, le kṛti est d’abord destiné au chant, ses compositeurs sont aussi poètes et s’il apparaît tout entier dédié à la louange divine, il s’avère aussi le lieu privilégié de l’expression personnelle sur le plan tant littéraire que musical. La création musicale en Inde du Sud est par ailleurs le fruit d'une incessante et subtile alternance entre improvisation et composition : les formes compositionnelles contiennent une part d’ouverture qui en assure non seulement la vie mais aussi la pérennité. Comment le compositeur prend-T-Il en charge le devenir de ses œuvres et de quelles manières ? Comment, tant par ses compositions que par le modèle de son existence même – par le jeu hagiographique – s’inscrit-Il dans le processus créatif, notamment celui de l’interprétation ? En quoi le kṛti, et particulièrement ceux de la Trinité carnatique, constitue un terrain particulièrement favorable pour la dialectique de la fixité et de la mobilité ? Ces éléments de problématique impliquent une approche à la fois historique et anthropologique tout en ouvrant un vaste champ à l’analyse musicale
The topic of this study presents the part and status of a composer – as well as his influence and style – within the traditional classical music in South India (carnatic music) through its three major representatives, so called carnatic Trinity : Śyāmā Śastri (1762/63 – 1827), Tyāgarāja (1767-1847), Muttusvāmi Dīkṣitar (1775-1835). It concentrates on the most radiant aspects of a large repertoire which has been brought to its achievement by these three musicians, the krti. As an essential tool to implement the Indian mysticism so called bhakti, the kṛti’s first purpose is linked to singing; its composers are also poets and though it is entirely dedicated to God’s praise, it appears to be also a unique way for personal expression, on literary as well as musical aspects. In South India, musical creativity is also a subtle and endless combination between improvisation and composition: the composition side remains partly opened which makes it not only vivid but also perennial. How does the composer manage the future evolution of his work and through which arrangements? Where does he stand in the creation process, including interpretation, through his compositions and his own life standard, thanks to hagiography? Why does the kṛti, especially those belonging to the carnatic Trinity, form a particularly favorable field for the dialectic of permanence and change? These aspects of the question need to be treated from a historical as well as anthropological standpoint but keep opened a wide area for musical analysis investigation

碩士
輔仁大學
大眾傳播學研究所
95
本研究發現，瑜珈師地論中的佛教語藝之本質，乃是一種「生命回歸法身的歷程。」所謂的法身，乃是所謂的宇宙實相，也就是所謂的涅盤。從宇宙實相之中，出生了一種引導眾生、能夠轉化眾生，使眾生回歸涅盤的力量，這種力量，也就是所謂的語藝之力。本研究稱此種出生的過程，為「語藝體相用的流出過程」。透過這種語藝之力的應用，佛教的語藝者得以引導眾生回歸法身的涅盤界，這就是所謂的「因道果的回歸歷程」。

碩士
華梵大學
東方人文思想研究所
101
ABSTRACT “Ratnagotravibhago Mahayanottaratantra sastra”（Uttaratantra）is a book that contained the most part of the tathagata-garbha thought .In its chapter Ⅵ, there are 9 metaphors of klesa. I tried to systematically collect the klesa philosophy by discussing it. In tathagata-garbha philosophy , the klesa is not an original element. All sentient bings’ buddha-nature will never be polluted and finally they will be able to attain to enlightenment. Therefore, the discussion for the path to eliminate all kinds of klesa is meaningful. In the first chapter, I introduced the reasons why I chose this subject , the methods for research and the central content of every chapter. In chapter 2 “The review of Uttaratantra” as a literature, the year it was written, its title, its Sanskrit texts and its Chinese and Tibetan translations, its authors and translators were discussed in detail. In charapter 3 “The klesa philosophy in Uttaratantra”, the differences between tathagata-garba and buddha-dhatu, the definitions and synonyms of klesa, the discussion of the klea in “Kath-vatthu”, the kinds of klea and its characteristics were discussed as well. In chapter 4 “How does the klesa appear and how is the klesa destroyed ?”, the appearance of klesa, the definitions of the thirty-seven aspects of the path to enlightenment, four ways for icchantikas , tirthikas, sravakas and pratyekabuddhas to eliminate klesa, the paths for bodhisattvas to destroy the klesa were discussed. Chapter 5 is the final concluding chapter of this thesis. Key words: Uttaratantra, klesa, tathagatha-garbha, the thirty-seven aspects of the path to enlightenment.

碩士
南華大學
宗教學研究所
96
Saddharma-pundarika-wastra is the only existing commentary of the Lotus Sutra which is important for those who want to understand Vasubandhu’s, one of the founders of the Yogacara School, thoughts of the Lotus Sutra. This thesis aims to unfold the thought of Saddharma-pundarika-wastra as well as Vasubandhu’s unique interpretation of the Lotus Sutra. However, though Vasubandhu applies the thoughts of the Yogacara School to explain the contents of the Lotus Sutra, yet the explanation is concise. Hence, the other treaties written by Vasubandhu are recruited in this study while elaborating the Buddha nature, lineage (gotra), Buddha’s body in Saddharma-pundarika-wastra 　　 　　In Saddharma-pundarika-wastra, Vasubandhu uses tathata and the nature of dharma as well as emptiness to explain the nature of Buddhahood. This differs from the tathagatagarbha sutras, which underline tathagatagarbha as the essence of the Buddha that is endowed with unlimited merits, the foundation of samsara and nirvana, and the basis of all dharmas. 　　 　　Secondly, concerning whether wravakas can be predestined or not, based on the theory of the Yogacara School, Vasubandhu explains that only the retrogressing and arrogant wravakas can be predestined to be a Buddha, while the transformed and fixed wravakas can’t, because they aren’t fully qualified as they can not accept the dharma at that time. In addition, in Saddharma-pundarika-wastra, dharma-kaya bodhi, sambhoga-kaya bodhi, and nirmana-kaya bodhi are used to reveal the ultimate reality of the Buddha’s merits. 　　 　　In Saddharma-pundarika-wastra, Vasubandhu elaborates his unique thoughts, which are summarized as follows: first, “7 types of merits” are applied to explain the chapter of the Lotus Sutra, ‘Introduction,’ in order to show the uniqueness of the Lotus Sutra. Secondly, “5 part manifestation” is used to explain the chapter of the Lotus Sutra, ‘Skilfulness,’ in order to reveal the Buddha’s wisdom. Thirdly, “7 parables,” “3 equalities,” and “10 kinds of supreme dharmas” are used to systemize all the contents of Saddharma-pundarika-wastra, which not only show the Lotus Sutra is the best sutra but emphasize the different ways the Buddha applies to help people with different defilements, attachments, and arrogant.

碩士
南華大學
宗教學研究所
101
The Great Treatise on the Perfection of Wisdom（Mahaprajnaparamita-sastra,《大智度論》）belongs to the category of writings on Mahayana Buddhism, and which is a commentary on the Large Sutra on Perfect Wisdom.（《大品般若經》） Since only the Chinese version exists, it has been an important influence on Chinese Buddhism. In this Treatise the presentation of the bodhisattva is broad and elaborate. Although the concept of the bodhisattva is found in Early Buddhism and Sectarian Buddhism, it focuses thereon the Gautama Buddha, describing his glorious achievements in previous lives and characterizing the bodhisattva as one possessed with superior forbearance and courageous spirit. According to the scholar Har Dayal, the meaning of bodhisattva is: “one who is devoted or attached to bodhi.” Many might wonder what encourages the bodhisattva and how does he summon the determination to keep on going? Even when faced with the various sorts of suffering in this world, he (or she) never loses the conviction needed to become a Buddha. The answer given is great compassion and profound wisdom, determining a path that does not enter a solitary Nirvana but seeks the benefit of all sentient beings. 　 　　The concept of Bodhisattva is not a point of antagonism between Hinayana and Mahayana. The organization of the Treatise involves sravakayana practices such as “anutpattika-dharmaksanti” （the certainty of the non-arising of dharmas, 無生法忍） which is achieved by advanced bodhisattvas on the seventh ground (bhumi). In this stage, the knowledge (jnana) of a bodhisattva and the knowledge of sravaka are one and the same knowledge, but the latter lack skillful wisdom, great compassion, and the vows of the bodhisattva, looking instead toward Nirvana. There are differences between the concept of Bodhisattva in mahayana and sarvastivada（說一切有部） literatures. The Treatise considers bodhisattvas to be in possession of a wisdom capable of eliminating more afflictions than that of the sravakayana. The point of view between them is different. Mahayana’s proposition is “nothing having been created nothing can be destroyed”, as contrasted with the doctrine of impermanence advocated by sravakayana. The Treatise demonstrates that the spirit of Bodhisattva is nom-attachment for all phenomena, nor entry into Nirvana. The Bodhisattva persists on the path to help beings until realization of Buddhahood.

Evangelicals have an unquestionable heritage for involvement in the world and its social problems and the Bible provides a basis for a liberative gospel. For the God of the Bible is not only a God of love and peace, but also of justice and he is therefore on the side of the poor, oppressed and suffering. he has given us a spirit of engagement with the world as salt and light and not escapism. As we give serious consideration to the challenges of liberation theologies, we need to hear the voice who calls his people in every age to go out into the lost and lonely world (as he did), in order to live and love, to witness and serve like him and for him and that is what African Evangelicalism is all about.
Systematic Theology and Theological Ethics
M. Th. (Religious Studies)