Дисертації з теми "Antieroe"

La tesi propone la traduzione/adattamento del libro per bambini “Superpaco y los niños poseídos” di Juana Cortés Amunarriz, pubblicato nel 2018 dalla casa editrice spagnola NubeOcho. Il lavoro è composto da quattro capitoli. Il primo si concentra sull’analisi del testo di partenza (genere di appartenenza, casa editrice, illustratrice, autrice, elementi paratestuali, trama, i personaggi, elementi spazio-temporali, stile e lingua utilizzata per affrontare i temi trattati direttamente e indirettamente dall’autrice). Il secondo capitolo verte sulla figura del supereroe e dell’antieroe, che Superpaco/Paco Montes, protagonista del racconto incarna pienamente. Il terzo capitolo è dedicato alla proposta di traduzione nella versione italiana Superpino e i bambini posseduti. La traduzione viene commentata nel quarto e ultimo capitolo, in tutti quegli aspetti meritevoli di attenzione: paratesto, antroponimi e toponimi, lessico, fraseologia, giochi di parole, sintassi, elementi culturali e illustrazioni.

This study traced Tertullian’s utilisation of history (or historical material) as a rhetorical instrument in one of his earliest works, the Ad Nationes. An in-depth analysis of the book identified this as a fundamental trajectory in the argument of Tertullian. The study casts a new perspective on the written work of this renowned Christian apologist and theologian. His use of history particularly to substantiate his arguments was compared with the contemporary primary sources, in order to assess the integrity or accuracy of his historical data. The prevailing rhetoric, as e.g. outlined by Quintilian, valued the message and intention of a text higher than the historical accuracy of the account. The same Quintilian, however, emphasized that historical accuracy would guarantee the message and intention of a text. The research concluded that Tertullian, who enjoyed a classical education and was therefore well acquainted with the rules of rhetoric, did pay sufficient attention to Quintilian’s insistence on historical accuracy in his utilisation of history. Tertullian was well aware of the significance of historical accuracy. On occasion he rightly criticised Tacitus (the famous historian) for historical inaccuracies in his work. In his Apologeticus (in which much of the Ad Nationes was reworked) he corrected some historical data. In the Ad Nationes he wrote a brilliant paragraph on the origin of rumours (fama) and also expressed his appreciation for careful investigation (in court procedures) in order to ascertain the truth (veritas) accurately. In the rhetorical utilisation of historical material, accurate historical knowledge did not play a crucial role. Of paramount importance was the intention and purpose of the immediate argument.
Thesis (MA (Latin))--North-West University, Potchefstroom Campus, 2012

Este trabalho apresenta um estudo de assinaturas de sinais de radar de alvos de geometrias simples e complexas, na faixa de freqüências de 8 - 12 GHz (banda X). Os alvos de geometrias simples estudados são: esfera, placa plana, disco, cilindro, cone e refletores de canto (diedros e triedro). Como alvo de geometria complexa caracterizado tem-se o modelo em escala da aeronave ERJ-145. Os diagramas de refletividade são obtidos em câmara anecóica, na condição quase-monoestática. A calibração do sistema de medidas, na banda X, é realizada pelo uso de uma lente de Luneberg e uma placa plana. Apresenta-se um amplo e detalhado arquivo de diagramas de RCS (Radar Cross Section), dos alvos de geometrias simples, cujas informações apóiam a caracterização do alvo de geometria complexa. A redução de RCS é também avaliada considerando-se os parâmetros geometria do alvo e a aplicação de Material Absorvedor de Radiação Eletromagnética (MARE). Entre os resultados coletados pode-se mencionar que o diedro de 50 apresenta uma redução de RCS, no ângulo de 0o, de 94% em relação ao diedro de 90, devido à contribuição da geometria. É também observado que a aplicação de MARE no diedro de 90 promove uma redução da sua RCS de 99%, em 10 GHz. A caracterização do modelo da aeronave ERJ-145 mostra a complexidade da análise de diagramas de RCS de alvos complexos.

Understanding illness and health care in the ancient world, and especially within ancient Israel, is not an easy undertaking. Most of the research done on Israelite health care focuses on the identification of disease rather than their sociological implications. This study hypothesises that to truly understand ancient Israel’s thoughts on illness and health care it is important to take the wider social context, in which a sick person would have found himself, into account. This study analyses the illness of King Uzziah (2 Chronicles 26:11-23) against the backdrop of the ancient Near East’s understanding of illness and health care, Israel’s view of Yahweh’s role in illness, as well as the interwovenness between illness and the social values of honour and shame. The notions of purity and impurity and the role they played in Israel’s understanding of illness, as well as the role of the temple and other consultative options are also taken into account in the study. In so doing the study intends to shed some light on the interwovenness between illness and social values in ancient Israel and thus enabling a better understanding of 2 Chronicles 26:11-23 and illness and health care in ancient Israel. Copyright
Dissertation (MA)--University of Pretoria, 2010.
Ancient Languages
unrestricted

The Mesopotamian inscriptions and collections in ancient Mesopotamia consist of different meanings extended over long time-periods and with social, political, economic and ethnic differences. Scholars in determining whether the texts are an authentic source for Mesopotamian law traditions developed different theories and each of these theories has different variations. In a literature study to obtain if the inscriptions and collections are an authentic source, the different theories and methodologies of the inscriptions and collections were mentioned and the inscriptions and collections were tested in accordance with the characteristics of the Mesopotamian law traditions. Until new interpretation of documents of daily activities and legal activities, which can prove, that these texts are an authentic source, the interpretation of the collections and inscriptions on the legal issues of ancient Mesopotamians must be applied with caution and studied together with the greater corpus of cuneiform texts.
Old Testament and Ancient Near East Studies
M.A. (Ancient Near East Studies)

Il progetto “La Maschera dell’Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi” nasce con lo scopo di analizzare e approfondire gli aspetti filosofici propri della narrativa supereroica, considerando prevalentemente il media nel quale tale narrativa ha preso vita, il fumetto, ma senza tralasciare le più recenti manifestazioni del fenomeno come film e serie televisive. L’obiettivo è stato quello di scoprire quelle che sono le strutture tipiche del mondo supereroico e quali sono i concetti filosofici in esse impliciti. A questo proposito non si è utilizzato un determinato autore attraverso il quale analizzare la figura del supereroe, ma piuttosto si è cercato di partire da fumetti e graphic novel stessi, svelando gradualmente la filosofia che gli è propria. Per questo motivo, come è evidente dalla bibliografia, è stato necessario considerare un vasto numero di autori. Si è considerata la narrativa supereroica come “specchio” del mondo e della società occidentale, nel senso Stendhaliano del termine. Si inizia a parlare di supereroi con Superman, pubblicato per la prima volta su Action Comics #1 nel 1938. La figura non è rimasta immutata, ma si è evoluta e modificata assieme alla società nella quale è nata. Pur considerando anche le prime due età del fumetto supereroico, la Golden Age e Silver Age, si è scelto di partire dalla Dark Age, età che comincia circa all’inizio degli anni ’80. Questa è ancora oggi considerata la più grande (e da alcuni l’ultima) trasformazione che il genere ha conosciuto e dalla quale è nato il supereroe così come lo conosciamo oggi. Questa trasformazione è legata a quella che è una profonda crisi della società americana degli anni ’60 e ’70, crisi che esplode anche nel mondo dei supereroi influenzando, da un lato una decostruzione della figura stessa del supereroe e di ciò che rappresenta, dall’altro la nascita e l’ascesa di un elevato numero di antieroi che domineranno questo periodo. Testi come Watchmen di Alan Moore e The Dark Knight Returns di Frank Miller sono pietre miliari e opere emblematiche di questa Age. È stato osservato che aspetti caratteristici della rivoluzione della Dark Age sono riapparsi, mutatis mutandis, oggi: dopo un periodo di transizione del corso degli anni ’90, la figura del supereroe e dell’eroe è nuovamente controversa e a volte ambigua, mentre l’antieroe ha sempre più successo. Per questi e altri motivi si è voluta designare l’età contemporanea con il termine di Post-heroic Age. Il lavoro è stato strutturato in quattro sezioni principali. La prima, riguardante il supereroe, ha inquadrato le strutture e i concetti base di questa narrativa. Chiave per comprendere tale figura è il suo dualismo e il suo rapporto con la maschera. La maschera, intesa come idolo e doppia identità è l’elemento più distintivo del genere. Il supereroe non solo si “nasconde” dietro una maschera come facevano personaggi quali Zorro o The Phantom, ma assume una seconda identità legata a un simbolo e a una differente Weltanschauung. Questa doppia identità definisce il rapporto tra il personaggio e la sua società, permettendo all’eroe di mantenersi in un fondamentale stato liminale, in bilico tra il mondo umano, la società che protegge e della quale è parte grazie all’identità civile, e il mondo “super”, inumano, del quale fa parte nel momento che indossa la maschera. È possibile già cogliere, nel rapporto del supereroe con la maschera, le contraddizioni e le aporie che una tale figura comporta in particolare in relazione alla legge e alla morale. Il supereroe combatte per difendere lo status quo, la Giustizia, il “Bene”, ma per farlo agisce necessariamente al di fuori della legge, è – de facto – un criminale. È solo il permanere nello stato liminale che gli permette di “sopravvivere” e operare all’interno di questa contraddizione fondamentale. Perderlo significa – spesso – perdere lo status di “supereroe”, diventando un antieroe o un villain. Per approfondire il concetto di “maschera” si sono rivelate fondamentali le opere di Friedrich Nietzsche e Jean-Paul Sartre. Altro elemento chiave preso in esame è stato il rapporto del supereroe con la violenza, analizzato facendo riferimento principalmente all’opera di René Girard. Quali sono e cosa comportano i metodi utilizzati dall’eroe? Fino a dove può spingersi il supereroe per difendere il “Bene”? E in cosa consiste esattamente questo “Bene”? Queste le domande che hanno guidato questo punto dell’analisi. La seconda sezione ha preso in esame il villain, il cattivo. Fondamentale è il rapporto che lega tra loro le due figure, che si sono rivelate meno distanti di quanto potrebbero inizialmente sembrare. L’analisi sul villain ha definito e approfondito differenti tipologie. La separazione dei vari tipi di cattivo non è netta, ma è stata metodologicamente utile per focalizzarsi su determinati aspetti che un determinato villain rivela: ad esempio per approfondire il legame tra villain ed eroe si sono considerati il Doppelgänger e il genio criminale, l’arcinemico del supereroe. Le altre categorie individuate sono quella del mostro, del comandante nemico, del comune supercriminale e del villain eroico. Alla base dell’analisi sul villain sta la figura del mostro, inteso anche in senso morale. Il mostro è una figura chiave per studiare non solo il cattivo ma anche la dimensione dell’inumano, rappresentata dalla maschera e legata, quindi, anche al supereroe. La terza sezione è il “cuore” di questo lavoro e si concentra sulla figura dell’antieroe. Tale figura si è rivelata centrale per comprendere e definire chi è il supereroe oggi. La domanda “quando un personaggio è un antieroe, quando invece un villain o un supereroe?” non permette una facile risposta. Elementi chiave per stabilire chi è un antieroe si sono rivelati essere la maschera, il rapporto del personaggio con la società, e il conflitto morale che di norma propone. Centrali le figure antieroiche definite “Ribelli” e “Rivoluzionari”, personaggi come V di V per Vendetta, Rorschach di Watchmen o il Punitore dell’universo Marvel. Da un punto di vista filosofico si è fatto riferimento principalmente, ma non solo, ad Albert Camus (Il Mito di Sisifo e L’Uomo in Rivolta) e al concetto di Übermensch Nietzschiano. Altre tipologie di antieroi prese in considerazione sono state: le “Parodie” (come Deadpool o l’italiano Rat-Man), i “Non-eroi”, personaggi cioè che rifiutano il ruolo di eroe e la maschera (come molti mutanti dell’universo Marvel o Jessica Jones) e infine le antieroine. Lo studio delle antieroine apre l’ultima sezione dell’opera, incentrata sulla figura della supereroina, o più in generale sulla superdonna. Si è rivelato necessario considerare separatamente e approfonditamente la figura della donna nell’universo supereroico, in quanto questa presenta delle peculiarità non indifferenti rispetto ai superuomini e ha conosciuto un’evoluzione differente. L’universo supereroico era, e in parte ancora è, principalmente maschile e a tratti maschilista. Sono state descritte e approfondite le questioni riguardante il sessismo presente nella narrativa supereroica e gli stereotipi legati alla donna, costretta spesso ad assumere ruoli “piatti” della vittima, della fidanzata o della femme fatale. Aspetto fondamentale venuto alla luce è il legame che tutte le figure femminili hanno con il concetto di antieroe, in quanto personaggi di rottura e critica di un universo prevalentemente maschile. L’analisi sulla superdonna ha anche fornito l’occasione di ripercorrere le età del fumetto supereroico e le tematiche affrontate nel corso del lavoro, per mostrarne le similitudini e le differenze nel caso specifico di eroine e villainesses. In particolare, è stato studiato il tema del corpo, in relazione alla superdonna, ma anche al supereroe in generale, tema che chiude il lavoro andando anche a ricollegarsi direttamente con quello della maschera.
The project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The relation with the mask shows the contradictions and the aporias, which the superhero figure implies, especially in connection with law and morality. The superhero fights to defend the status quo, Justice and “Good”, but his mission requires that he acts outside the law. He is – and must be – a criminal. Only thanks to his liminal state he can operate despite this critical contradiction. If the superhero loses this state, he could become an antihero or even a villain. The works of Friedrich Nietzsche and Jean-Paul Sartre are fundamental to define the concept of “mask”. Another significant element examined is the superhero’s relationship with violence, analysed mainly through René Girard’s work. What are the methods used by the hero, and what do they involve? How far can the superhero go to defend the “Good”? Furthermore, what exactly is this “Good”? These questions guide this point of the analysis. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The Monster (also in a moral sense) is the basis of the analysis regarding the villain. The Monster is also a crucial figure to study the inhuman dimension connected to the mask and, consequently, to the superhero. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. Other types of antiheroes taken into consideration are the “Parodies” (such as Deadpool or the Italian Rat-Man), the “Non-heroes”, (characters who reject the role of hero and the mask, like many mutants of the Marvel universe or Jessica Jones) and finally the antiheroines. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution. The superheroes’ universe was, and in part still is, male-dominated and sometimes even sexist. The issues concerning the sexism present in superhero fiction and the stereotypes related to women often forced to assume the stereotypical roles of the victim, girlfriend, or femme fatale, are described and deepened. A fundamental aspect revealed is the link that female figures have with antiheroes, as characters of rupture and criticism of a predominantly male universe. Superwoman’s analysis also provides an opportunity to retrace the ages of superhero comics and the issues addressed in the course of the work to show the similarities and differences in heroines and villainesses’ specific case. In particular, the body’s theme is studied, concerning both superwomen and superheroes. This theme closes the work by reconnecting directly with that of the mask.

Il progetto “La Maschera dell’Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi” nasce con lo scopo di analizzare e approfondire gli aspetti filosofici propri della narrativa supereroica, considerando prevalentemente il media nel quale tale narrativa ha preso vita, il fumetto, ma senza tralasciare le più recenti manifestazioni del fenomeno come film e serie televisive. L’obiettivo è stato quello di scoprire quelle che sono le strutture tipiche del mondo supereroico e quali sono i concetti filosofici in esse impliciti. A questo proposito non si è utilizzato un determinato autore attraverso il quale analizzare la figura del supereroe, ma piuttosto si è cercato di partire da fumetti e graphic novel stessi, svelando gradualmente la filosofia che gli è propria. Per questo motivo, come è evidente dalla bibliografia, è stato necessario considerare un vasto numero di autori. Si è considerata la narrativa supereroica come “specchio” del mondo e della società occidentale, nel senso Stendhaliano del termine. Si inizia a parlare di supereroi con Superman, pubblicato per la prima volta su Action Comics #1 nel 1938. La figura non è rimasta immutata, ma si è evoluta e modificata assieme alla società nella quale è nata. Pur considerando anche le prime due età del fumetto supereroico, la Golden Age e Silver Age, si è scelto di partire dalla Dark Age, età che comincia circa all’inizio degli anni ’80. Questa è ancora oggi considerata la più grande (e da alcuni l’ultima) trasformazione che il genere ha conosciuto e dalla quale è nato il supereroe così come lo conosciamo oggi. Questa trasformazione è legata a quella che è una profonda crisi della società americana degli anni ’60 e ’70, crisi che esplode anche nel mondo dei supereroi influenzando, da un lato una decostruzione della figura stessa del supereroe e di ciò che rappresenta, dall’altro la nascita e l’ascesa di un elevato numero di antieroi che domineranno questo periodo. Testi come Watchmen di Alan Moore e The Dark Knight Returns di Frank Miller sono pietre miliari e opere emblematiche di questa Age. È stato osservato che aspetti caratteristici della rivoluzione della Dark Age sono riapparsi, mutatis mutandis, oggi: dopo un periodo di transizione del corso degli anni ’90, la figura del supereroe e dell’eroe è nuovamente controversa e a volte ambigua, mentre l’antieroe ha sempre più successo. Per questi e altri motivi si è voluta designare l’età contemporanea con il termine di Post-heroic Age. Il lavoro è stato strutturato in quattro sezioni principali. La prima, riguardante il supereroe, ha inquadrato le strutture e i concetti base di questa narrativa. Chiave per comprendere tale figura è il suo dualismo e il suo rapporto con la maschera. La maschera, intesa come idolo e doppia identità è l’elemento più distintivo del genere La seconda sezione ha preso in esame il villain, il cattivo. Fondamentale è il rapporto che lega tra loro le due figure, che si sono rivelate meno distanti di quanto potrebbero inizialmente sembrare. L’analisi sul villain ha definito e approfondito differenti tipologie. La separazione dei vari tipi di cattivo non è netta, ma è stata metodologicamente utile per focalizzarsi su determinati aspetti che un determinato villain rivela: ad esempio per approfondire il legame tra villain ed eroe si sono considerati il Doppelgänger e il genio criminale, l’arcinemico del supereroe. Le altre categorie individuate sono quella del mostro, del comandante nemico, del comune supercriminale e del villain eroico. La terza sezione è il “cuore” di questo lavoro e si concentra sulla figura dell’antieroe. Tale figura si è rivelata centrale per comprendere e definire chi è il supereroe oggi. La domanda “quando un personaggio è un antieroe, quando invece un villain o un supereroe?” non permette una facile risposta. Elementi chiave per stabilire chi è un antieroe si sono rivelati essere la maschera, il rapporto del personaggio con la società, e il conflitto morale che di norma propone. Centrali le figure antieroiche definite “Ribelli” e “Rivoluzionari”, personaggi come V di V per Vendetta, Rorschach di Watchmen o il Punitore dell’universo Marvel. Da un punto di vista filosofico si è fatto riferimento principalmente, ma non solo, ad Albert Camus (Il Mito di Sisifo e L’Uomo in Rivolta) e al concetto di Übermensch Nietzschiano. Lo studio delle antieroine apre l’ultima sezione dell’opera, incentrata sulla figura della supereroina, o più in generale sulla superdonna. Si è rivelato necessario considerare separatamente e approfonditamente la figura della donna nell’universo supereroico, in quanto questa presenta delle peculiarità non indifferenti rispetto ai superuomini e ha conosciuto un’evoluzione differente.
The project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution.

AFRIKAANS: Die Antieke ruimtevaarder-teorie stel voor dat wesens uit die ruimte die Aarde in die antieke verlede besoek het. Hierdie wesens was betrokke by die vroeë geskiedenis van die planet. Hulle het bewoonbare toestande geskep asook menslike intelligensie deur 'n proses van genetiese ingenieurswese. Hul besoeke is opgeteken en deur mense oorgelewer in godsdienste, mitologieë en antieke legendes. Hul teenwoordigheid is ook nog waarneembaar in antieke fisiese oorblyfsels. Voorstanders van die Ruimtevaarderteorie bied dit aan as 'n wetenskaplike hipotese en as die "mees perfekte algemene noemer van alle tye" wat 'n moderne verklaring vir die oer-godsdiens bied. Afdeling A van die studie bied 'n oorsig oor die teorie en die bewyse wat daarvoor aangebied word. Daar word aangetoon dat, hoewel die meeste van die postulate nie deur die moderne wetenskap as "onsinnig" beskou word nie, dit nie oortuig as 'n werkbare wetenskaplike teorie nie. Omdat daar weinig verskille tussen die basiese onderneming van die wtenskap en die godsdiens bestaan (beide vertrek vanaf onbewysbare aannames om waargenome data te verklaar) word daar vermoed dat die Antieke ruimtevaarder-teorie eerder funksioneer op die vlak van religieusiteit. Hierdie tese word ondersoek in Afdeling B van die studie: Daar word voorgestel dat die Fenomenologiese metode van godsdienswetenskaplike ondersoek, wat poog om 'n fenomeen te verstaan nie soos dit manifesteer nie, maar op die dieper vlak van die funksie en betekenins daarvan, die mees paslike metode vir die ondersoek is. (p> Met gebruikmaking van die insigte van 'n Fenomenologiese benadering, word aangedui dat die Antieke ruimtevaarder-teorie funksioneer as 'n godsdienstige beweging met eienskappe van 'n kulte en 'n nieu-mitologie. Die aanvaarbaarheid van die teorie vir die vele volgelinge daarvan, en die gepaardgaande groei van die bcweging wat dit propageer, word verklaar uit 'n kombinasie van sosiologiese en psigologiese faktore wat aan die werk is in die moderne Westerse beskawing. Vanuit 'n fenomenologiese gesigspunt word gekonkludeer dat die Ruimtevaardcrteorie baie suksesvol op religieuse vlak is. Dit slaag daarin om die Bybel weer "geloofwaardig" te maak en skep weer 'n "kosmiese raamwerk" vir die betekenis van die menslike bestaan. Die teorie kan ook beskou word as 'n prysenswaardige poging tot die sintetisering van godsdiens en die modeme wetenskap vir die aanhangers daarvan, en om die geestelike behoeftes van mense in 'n verwarrende en verwarde wêreld aan te spreek. In 'n slotafdeling word die bevindinge van die studie teologies oorweeg en word die waarde daarvan vir die Chrislelike godsdiens aangetoon. ENGLISH: The Ancient astronaut theory proposes that beings from outer space came to Earth in the distant past. These beings were involved in the early history of the planet: They created habitable conditions and human intelligence by genetic engineering. Their visits were recorded and handed down by humans in their religions, mythologies and ancient legends. Their presence is also visible in ancient physical remains. Proponents present the Astronaut theory as a scientific hypothesis and as "the most perfect common denominator of all time", allowing a modem explanation for old-time religion: Section A of the study provides an overview of the theory and the evidence presented in support of it. It is shown that, although many of the postulates are being accepted by modem science as "not unreasonable", it is not convincing as a workable scientific theory. Since there is little difference between the basic enterprises of science and religion (both departing from unproven suppositions to explain perceived data) it is suspected that the Astronaut theory rather functions on a level of religiosity. This thesis is investigated in Section 8 of the study: It is proposed that the Phenomenological method of studying religion, which attempts to understand a phenomenon not in the way it manifests itself, but on the deeper level of its function and meaning, is the most appropriate for this investigation. Using the insights of a Phenomeno!ogical approach, it is shown that the Ancient astronaut theory functions as a religious movement with attributes of a cult and a new-mythology. The acceptability of the theory for its many followers and the resulting growth of the movement that proposes it, is explained from a combination of social and psychological factors at work in Western society. From a phenomenological point of view it is concluded that the Astronaut theory may be considered very successful on a religious level: It succeeds in making the Bible "respectable" again and it recreates a "cosmic framework" for the meaning of human existence. The theory may also be considered a praiseworthy attempt to synthesise religion and modem science for its supporters and to address the spiritual needs of man in a confusing and confused world. In a final section of the study, the results are being considered theologically and their value. being shown for Christianity.
Thesis (PhD (Science of Religion))--University of Pretoria, 2007.
Science of Religion and Missiology
unrestricted

Text in Afrikaans
Die politieke struktuur van antieke Egipte en ons eie politieke geskiedenis het meegebring dat aspekte rakende die vrou, vir baie jare oor die hoof gesien was, veral in die literatuur. Met antieke Egipte, waar mans hoofsaaklik verantwoordelik vir die samestelling van geskrewe materiaal was, en in Suid-Afrika waar daar in navorsing meer op onderwerpe wat mans interesseer gefokus was, het daar soveel vrae rakende die vrou onbeantwoord gebly. Die mans kon nie, het nie of wou nie, verslag doen oor wat gedurende swangerskap en baring gebeur het nie. Met behulp van ‘n uitgebreide literatuurstudie (wat bronne uit die geskiedenis, argeologie, antropologie, medisyne, wetenskap, ikonografie, kunste, argitektuur, taalkunde, astronomie, sielkunde, mitologie, tuinbou ensovoorts ingesluit het) is ontdek dat daar, in antieke Egiptiese geskrifte en uitbeeldings, baie oor swangerskap en baring gekommunikeer is. Die inligting is net nie altyd in die konteks of plekke waar ‘n mens dit sou verwag nie. Manlike skrywers het argeologiese inligting vanuit hulle manlike verwysingsraamwerk geïnterpreteer. Die meerderheid inligting oor swangerskap en baring in antieke Egipte, is dus in die verlede òf oor die hoof gesien, òf dit is vanuit ‘n manlike perspektief geïnterpreteer. Belangrike betekenisse het so verlore geraak. Hierdie studie is onderneem om lig op swangerskap en baring in antieke Egipte te werp. ‘n Grondige kennis van die vroulike fisiologie en -denkpatrone is met ‘n uitgebreide studie van die gebruike, tradisies en gelowe van antieke Egipte gekombineer om die bestaande poel van kennis op te helder.
Due to the political structure of ancient Egypt, as well as in our own political history, female matters have been overlooked for many years, especially in literature. With ancient Egypt, where mainly men were responsible for written material, and in South Africa where research, in the past, focused mainly on topics of interest to men, many questions regarding women remained unanswered. Men could not, did not, or didn’t want to report on what happens during pregnancy and birth. The research of extensive literature sources (including historical, archaeological, anthropological, medical, scientific, iconographical, art, architectural, linguistic, astronomical, physiological, mythological, horticultural and other sources) indicates that the ancient Egyptian writings and depictions contained information about pregnancy and birth. In the past most information about pregnancy and birth in ancient Egypt was either overlooked or interpreted from a male perspective. Thus important meanings and interpretations got lost. The aim of this study is to shed light on pregnancy and birth in ancient Egypt. A current thorough knowledge of female physiology and thought patterns was combined with an extensive study of practices, traditions and beliefs in ancient Egypt to elucidate the existing pool of knowledge.
Biblical Archaeology
D. Litt. et Phil. (Biblical Archaeology)

Musiek was geen vreemde verskynsel in die Ou Testament en antieke Nabye Ooste nie. Om die waarheid te sê was musiek en die instrumente wat gebruik was om musiek te maak, deel van elke volk binne die antieke Nabye Ooste en nou vervleg met hul kultuur en godsdiensverering. Verskeie vorme van musiek soos sang, dans, orkesmusiek en musikale instruksie was algemeen bekend asook `n hele aantal musiekinstrumente, waar onder snaar-, wind- en perkussie-instrumente tel. Van hierdie drie kategorieë waarin antieke musiekinstrumente ingedeel is, was sommige meer en ander minder populer. Die vraag ontstaan watter musiekinstrumente dan die mees populerste was en waarom? En het hierdie musiekinstrumente dieselfde prominensie in die Ou Testament gehad? Die bekendste volke van die antieke Nabye Ooste word bestudeer ten einde te verstaan watter rol musiek binne hul onderskeie kulture gespeel het, asook watter musiekinstrumente die meeste aandag geniet het. Op dieselfde wyse word gekyk na die Israeliete binne die konteks van die Ou Testament met spesifieke verwysing na musiek en musiekinstrumente binne die Psalmbundel. Argeologiese en ikonografiese voorstellings word gebruik om `n beter prentjie te skets van hoe musiekinstrumente gelyk het en hoe die antieke mens musiek gemaak het. Die frekwensie van voorkoms van musiekinstrumente binne die Ou Testament en Psalms word uitgewys ten einde die mees prominente instrumente te identifiseer. Uit bogenoemde word dit duidelik dat die ramshoring, harp en lier die belangrikste musiekinstrumente binne die konteks van die Ou Testament (en meeste volke van die antieke Nabye Ooste) was en dat die ramshoring die meeste in oorlog en aanbidding gebruik was. ENGLISH : Music was no strange phenomenon in the Old Testament and ancient Near East. To be honest music and the instruments used to make music formed part of every nation of the ancient Near East and were very much part of their culture and worship practices. Various forms of music, i.e. singing, dancing, orchestral music and musical instruction was generally known, as well as a whole lot of musical instruments, which included string-, wind- and percussion-instruments. Of these three categories in which ancient musical instruments were divided, some were more and others less popular. The question is then raised which of these musical instruments were the most popular ones and why? And did these instruments enjoy the same prominence in the Old Testament? The most well-known nations of the ancient Near East is studied in order to understand the roll which music played in each nation, as well as which musical instruments enjoyed the most attention. In the same manner the Israelites is studied in the context of the Old Testament with specific reference to the music and musical instruments in the Psalms. Archeological and iconographical representations are used to create a better picture of how musical instruments looked and how the ancient people made music. The frequency in which musical instruments are mentioned in the Old Testament and Psalms is shown in order to identify the most prominent instruments. From the above-mentioned it becomes clear that the ram’s horn, the harp and lyre were the most important musical instruments within the context of the Old Testament (and most nations of the ancient Near East) and that the ram’s horn were used the most in times of war and worship.
Dissertation (MA(Theol))--University of Pretoria, 2012.
Old Testament Studies
unrestricted

Hierdie studie, wat handel oor die Griekse tragedieskrywers en die deugde-etiek, val in vier hoofdele uiteen. In die eerste plek (afdeling 2) begin dit met ’n bespreking van die werk van die drie belangrikste tragedieskrywers – Aischulos, Sophokles en Euripides – en die sosiopolitieke tydsgewrig waarin dit geskryf is. Hierna word drie tekste van elke skrywer bespreek: Sewe teen Thebe van Aischulos; Antigone van Sophokles en Hippolutos van Euripides. Teen hierdie histories-vergelykende agtergrond volg ’n tematiese bespreking van die Griekse tragedieskrywers in die tweede plek (afdeling 3). Temas wat aan die bod kom sluit in: 1) Die rol van die antieke teater in die breë Griekse identiteit, veral met betrekking tot die tema van die individu binne die gemeenskap, en die verhouding tussen gehoor en kunswerk. 2) Die tema van die tragiese mens – en meer spesifiek die tragiese individu en sy/haar identiteit. 3) ’n Bespreking van die verhouding tussen die private (oikos) en openbare (polis) in antieke Griekeland. Hierdie tematiese bespreking dien dan as aanknopingspunt vir ’n bespreking van Aristoteles se deugde-etiek wat in die derde plek (afdeling 4) aan die beurt kom. In die laaste gedeelte van hierdie studie (afdeling 5) word gepoog om die verskeie temas soos behandel deur die Griekse tragedieskrywers, die politieke ruimte van die tragiese teater en Aristoteles se deugde-etiek, in gesprek te plaas met die estetiese en politieke implikasies van Gadamer se filosofiese hermeneutiek. Uiteindelik poog die studie om ‘n alternatief te formuleer op die gedepolitiseerde individu, wat in ons eie tyd ‘n probleem geword het. Teen die agtergrond kan dit verhelderend wees om te gaan kyk na hoe die klassieke tragedies, op die vooraand van Aristoteles se deugde-etiek, oor die kwessie van die verhouding tussen mens en samelewing nagedink het. Een van die punte wat hierdie werkstuk aanspreek, is dat die oorbeklemtoning van die individu in vandag se wêreld ʼn verlies aan tragiese wêreldbeskouing meebring, en dat dit ‘n verlies is wat die lewe van die individu en van die gemeenskap ten nouste raak. As alternatief word aangevoer dat die herstel van ’n holistiese, esteties-etiese lewensbeskouing tot groter politieke vervulling vir die mens kan lei as wat die eietydse mens beskore is.
Dissertation (MPhil)--University of Pretoria, 2014
gm2015
Philosophy
MPhil
Unrestricted

In Chapter 1 different phases of the application of exegetical methods with regard to texts in the New Testament were identified. Each phase provided a different perspective in response to questions about the contextuality of the New Testament. From the overview it became clear that the investigation of the historical background had received some attention, but it had not been as effectively utilized in the hermeneutical process as it could be, and had not been taken seriously enough. In Chapter 2, the place and function of the historical context or background of the New Testament in historical criticism, literary criticism and social scientific methods of exegesis were evaluated. Historical criticism often focuses on the different parts (forms) of the text, but does not consider the text as a whole to the degree required. Literary criticism focuses on the text as a whole. The Gospels are regarded as narrative texts. Narratology foregrounds the spatial aspects or topology of the Gospels. Socio-historical research on the world of the text, contributes to the study of the background of the New Testament. To enhance the progress already made, historical criticism and literary criticism can be supplemented by applying selected social scientific models. The use of such models makes it possible for socio-historical data to be systematized in a holistic interpretive framework. The use of social scientific models can bridge the historical distance between the text and its readers to avoid fallacies based on anachronism and ethnocentrism. A social scientific approach provides a holistic frame of reference for the interpretation of Biblical texts. However the approach may not pay enough attention to the topological or spacial aspects of the Gospel of Matthew. The model of advanced agrarian society and the pre-industrial city have not yet been applied effectively to the Gospel of Matthew. The current study fills this gap. In the study the model in terms of which an advanced agrarian society can be descibed, is used as a broad frame of reference within which the place and function of the Biblical jubilee can be studied. This diachronic overview of the research on the Biblical jubilee (Chapter 3) shows that no such study has as yet been undertaken with regard to the Biblical jubilee. Ancient economy developed from a simplistic agrarian society to an advanced agrarian society. The Roman Empire was the result of a long evolutionary process. Land was the primary economic resource in a self-sufficient society. The aim of the current research was to show that the socio-economic background of the first century forms the context within which the land and jubilee can be understood. The socio-economic background can be interpreted within a holistic perspective of first-century Mediterranean society. The social scientific model of advanced agrarian society includes four factors (family institutions, pre-industrial city, land tenancy and social stratification) that all influenced the land and economy of the first-century Mediterranean world. In Chapter 6, homomorphic models were used to simplify important and representative aspects of complex social structures, behaviour and relations. These models were used for the study of the political, economic and social systems of an empire or government. The current study used the social scientific model of advanced agrarian society as frame of reference for the interpretation of the place and function of the Biblical jubilee in the Gospel of Matthew.
Dissertation (DD(New Testament Studies))--University of Pretoria, 2001.
New Testament Studies
unrestricted

Summaries in English and Afrikaans
Text in English
A modem "disease", stress is a universal and eternal problem in the pedagogic situation, where the child becomes an aduh, under adult supervision. Stress - a feeling of pressure or strain - is a problem for contemporary South African children, who automatically respond to stressors (causes of stress), in the same way as children of the past, since human beings have not changed psychobiologically over the millennia. Our bodies and minds should return to a calm state, after our initial stress reaction, but we often remain under stress, which results in emotional/ physical symptoms of distress. Yet history has shown that children can be helped to handle stress, making it a stimulus for growth. Although past societies were not directly conscious of the concept of stress, they taught coping mechanisms to their children. Some of these are generally valid, and provide us with solutions to the problem of stress in the pedagogic situation.
Die modeme "siekte", stres, is eintlik 'n universele en altyddurende probleem in die pedagogiese situasie - die· situasie waar die kind besig is om onder volwasse begeleiding 'n volwassene te word. Stres - 'n gevoel van druk en oorspanning - is 'n probleem vir hedendaagse Suid-Afrikaanse kinders wat maar, net soos die kinders in die verlede, outomaties reageer op "stressors" (faktore wat stres veroorsaak). Die afgelope millenniums het immers bewys dat die mens nie psigobiologies verander het nie. Ons liggaam en gees behoort mstig te word na 'n aanvanklike stres reaksie. Die probleem is dat ons meestal onder stres bly leef met emosionele/ psigiese simptome van angs as die resultaat daarvan. Tog het die geskiedenis bewys dat kinders gehe]p kan word om stres te hanteer en dit eerder as 'n stimulus vir ontwikkeling te benut. Ten spyte van die feit dat samelewings in die verlede nie so bewus was van die konsep van stres nie, het hulle tog sekere tegnieke aan hulle kinders oorgedra om hulle te he]p om hulle stres te hanteer. Sommige van hierdie tegnieke is algemeen geldig en voorsien ons dus van oplossings vir die probleem van stres in die pedagogiese situasie.
Educational Studies
M. Ed. (Educational Studies)