Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Nous pensons que les lectures préexistantes ont fait le choix de prioriser le récit et que le déplacement proposé par Stanley Cavell dans sa lecture de King Lear, prêtant la cohérence au personnage, nous invite, sur le même modèle, à faire une lecture similaire concernant les films de Disney. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie, et ici particulièrement des rapports de pouvoir. Recomposer certaines séquences importantes du film, c’est le rééclairer en reprenant les matériaux musicaux mêmes du compositeur du film (Alan Menken), pour en redistribuer les emphases — notion à laquelle nous ne donnons pas qu’une valeur musicale, mais une valeur philosophique, reprenant à Stanley Cavell cette idée qu’une différence d’accent peut faire toute la différence du monde. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Elle aide à réfléchir au film et à ses interactions tout en faisant monter à la surface ladite promesse dont le film cherchait à bloquer l’actualisation. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux à l’intérieur des films dans lesquelles s’expriment les héroïnes. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicaux. L’ensemble de la musique, dans son lien au complexe audio-visuel, nous permet ainsi de réfléchir aux rapports de pouvoir inscrits dans le film. / From aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that the previous studies of these films made the choice of prioritising a narrative analysis where ours is to take into account of the character’s consistency, as does Stanley Cavell in his reading of King Lear. The main idea is to see this new composition as an alternative version the composer could have come up with, and to measure how we can go from the recomposition to the original sequence and end up with another angle for the analysis of the movie. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition of specifics sequences will help us to point out that the film makes a choice thanks to musical emphasis — notion that is not only musical but also philosophic, as Stanley Cavell points out that a difference of emphasis is able to make all the difference in the world. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. Going back and forth into the movie thanks to the musical recomposition brings to light the importance of the musical numbers where the heroines have a space and moment to express themselves. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie.

This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy.

This paper interweaves narrativized readings and experiential narratives as personal and cultural resources for counterhegemonic cultural critique within our historical context of globalization and ecological crisis. Framed by perspectives on epistemology, everyday life, and place, these reflections seek to engage and revitalize our notions of community, creativity, and the individual, towards visioning the human art of community as a counternarrative to globalization. Such a task involves confronting the meanings we have come to ascribe to work and economy which so deeply determine our social fabric. Encountering the thought of key 19th and 20th century social theorists ranging from William Morris, Gregory Bateson, and Raymond Williams, to Murray Bookchin, Martin Buber, and Wendell Berry, these reflections mark the indivisible web of culture in the face of our insistent divisions, and further, iterate our innate creativity as the source for a vital, sustainable culture that might reflect, in Bateson’s terms, the pattern that connects.

This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern. and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian' texts becomes largely a coincidence of terminology. Narrative forms which can be classified as 'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent similarities betray radically divergent metaphysical presuppositions, however. The nature of the Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical bases of those forms. / English Studies / M.A. (English)

This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern. and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian' texts becomes largely a coincidence of terminology. Narrative forms which can be classified as 'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent similarities betray radically divergent metaphysical presuppositions, however. The nature of the Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical bases of those forms. / English Studies / M.A. (English)

Background & Aims: Despite advances in surgical care and chemotherapeutic regimens, the five-year survival rate for Stage IV Hepatoblastoma (HB), the predominant pediatric liver tumor, remains at 27%. YAP1 and β-Catenin co-activation occurs in 80% of children’s HB; however, a lack of conditional genetic models precludes exploration of tumor maintenance and therapeutic targets. Thus, the clinical need for a targeted therapy remains unmet. Given the predominance of YAP1 and β-catenin activation in children’s tumors, I sought to evaluate YAP1 as a therapeutic target in HB. Approach & Results: Herein, I engineered the first conditional murine model of HB using hydrodynamic injection to deliver transposon plasmids encoding inducible YAP1S127A, constitutive β-CateninDelN90, and a luciferase reporter to murine liver. Tumor regression was evaluated using in vivo bioluminescent imaging, and tumor landscape characterized using RNA sequencing, ATAC sequencing and DNA foot-printing. Here I show that YAP1 withdrawal in mice mediates >90% tumor regression with survival for 230+ days. Mechanistically, YAP1 withdrawal promotes apoptosis in a subset of tumor cells and in remaining cells induces a cell fate switch driving therapeutic differentiation of HB tumors into Ki-67 negative “hbHep cells.” hbHep cells have hepatocyte-like morphology and partially restored mature hepatocyte gene expression. YAP1 withdrawal drives formation of hbHeps by modulating liver differentiation transcription factor (TF) occupancy. Indeed, tumor-derived hbHeps, consistent with their reprogrammed transcriptional landscape, regain partial hepatocyte function and can rescue liver damage in mice. Conclusions: YAP1 withdrawal, without modulation of oncogenic β-Catenin, significantly regresses hepatoblastoma, providing the first in vivo data to support YAP1 as a therapeutic target for HB. Modulating YAP1 expression alone is sufficient to drive long-term regression in hepatoblastoma because it promotes cell death in a subset of tumor cells and modulates transcription factor occupancy to reverse the fate of residual tumor cells to mimic functional hepatocytes.

Indiana University-Purdue University Indianapolis (IUPUI) / Madeline Heilman’s (1983) Lack of Fit Model, which postulates why discrimination occurs in the selection of sex-typed jobs, has been applied to the interaction of applicant attractiveness. Yet recent research suggests that other appearance variables, namely sex-typed facial features, may be associated with perceptions of fit. Building upon Heilman’s 1983 model, the current study evaluated how sex-typed facial features relate to applicant selection for sex-typed fields. Undergraduate students were recruited for participation during the spring academic semester (n = 413) and data were analyzed using a 2x2x2 ANOVA. Results indicated that selection is significantly impacted by the three-way interaction of applicant sex, facial feature-type, and sex type of the applying field. Further, masculine-featured females and feminine-featured males were significantly less favored for selection within the feminine sex-typed field. Implications of these findings and the differential evaluation of male and female applicants in a feminine field are discussed.

ARCHITECTURE The centre and entrance point for atrection a relx is terace with pool, with corridor to cafe and skylights that leads to reception. Around this atrium, there is a ramp, rising up. Pools are not see n ko the screens are individual attractions, atmosphere. The height change of each pool, sauna and whether this involves physical effort is rewarded with open views to the surroundings and relax themselves. Entering the building through a covered, but bright bay, passage is a continuation of the street fishing. Thus the very end of the reception side. Thus eliminate the problem of a parcel which is like a scene out of town. Layout In the passages suggest leaving the car park, Kafe-bar with a simple menu and fresh multifunctional workshop, creative playground. It is known fact, that in the old spa locations to find valuable pieces of pottery, small painting and sculpture and other artifacts that speak of links with the vivacious work, relax, relax with a manual and spiritual. This room will also serve as a nursery for parents resting in the spa, in the specified date and time. Upon entering the spa itself, the reception with high ceilings and skylights from the terrace, the visitor to the issue of changing rooms with bathroom facilities. Consequently, the choice whether to receive the attractions, or go down to the fitness center or gym. Another option is to move the spa itself. In the direction from the top down it is pliable dough, the blood will get the opposite route, in which the visitor shall issue a physical effort. 2np In addition to coffee for guests only and exit to the terrace, and massage booths are located. Much of the area occupied by the technical room, spa bath as well as administration. On the next floor guest vystkytne a larger foyer, drinking KURO room and swimming and first aid. Glass facades can be glanced only in forests of the Riviera, but the atrium, with an outdoor terrace and heated swimming pool at all times. Foyer is the actual beginning of the journey. The first ramp is rising just from my father. All the dark hallway, followed by a bright and translucent glass facades. The key is just a wall bordering the ramps and a few additional columns for the perimeter of the building. About half a meter above (and always rises only about 500 mm, the gradient of 1:16 to 8 meters length), the visitor gets to the first pool. Sunny southern facade is designed as a double, at this point is the greenhouse, it is no wonder that the first two pools are linked to breathing, inhalation, nature herbs. The hall (+7400) is glass mat glass sanitary unit consisting of two toilets, toilets for disabled people and installation bay. On one front wall of the shower. This element is repeated, the cabin is only 2.6 meters high (sv room is 3.65 meters), it was acting to hinder lightweight and transparent. On the left side counterclockwise overcomes next ramp stages. Pools are right to counter a výrivý. In this part of the facade facing the street catchment area, the intersection of fishing and of 8 m of pools have already seen the two interface Brno: Petrov and Špilberk. There is also a visitor gets to escape-connecting staircase. Possibility of shortening the path to the sauna is right here. The following pool of options in turn draws the double facade. Studenúuvodu make cold, shielded, north-facing environment. Hot pool at a height level of hygiene cab ...

This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance.

This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance.