Over the past few decades, coral cover has declined worldwide due to overfishing, disease, and storms, and these effects have been exacerbated by ocean warming and acidification. Corals are extremely susceptible to these changes because they are already living close to their thermal and aragonite saturation thresholds. Ocean warming and acidification (OAW) may also impact coral survival and growth by impacting their settlement cues. Coral larvae use crustose coralline algae (CCA) and their associated biofilms as cues for settlement, i.e., habitat selection. Settlement cues can also be negatively affected by increased water temperature and acidity. It was hypothesized that the impacts of OAW on settlement substrate can further threaten coral persistence by altering/inhibiting larval settlement and potentially decreasing the post-settlement survival and growth of coral recruits. In this study, we 1) assessed the effect of substrate quality (substrate conditioned in ambient or OAW conditions) on settlement of A. agaricites larvae, 2) determined the effect of substrate quality on post-settlement survival and growth of A. agaricites recruits, and 3) determined the effect of ocean warming and acidification on the post-settlement survival and growth of A. agaricites recruits. Aragonite settlement tiles were placed offshore for one month to accrue CCA and associated biofilms, and were then conditioned in either ambient (29°C, 8.2 pH) or predicted future oceanic conditions (31°C, 7.9 pH) conditions for 7 – 10 days. Agaricia agaricites larvae were then introduced to the settlement tiles, and their settlement percentage was calculated. Once a week for 12 weeks after larval settlement, the size, survival, and pigmentation of A. agaricites recruits was recorded. Larvae settled marginally more on optimally conditioned tiles than on tiles previously exposed to OAW conditions (p=0.053). The survival of coral recruits in OAW conditions was greatly reduced, their growth was very limited, and they became paler over time. When reared in ambient conditions, recruits on OAW treated substrate initially displayed higher survival rates than recruits on ambient treated substrate. After 3 weeks in ambient conditions, however, survival rates were similar for recruits on ambient and OAW treated substrate; their growth curves were very similar, and coral recruits became more pigmented over time. Ocean warming and acidification conditions not only directly impacted the growth, survival, and pigmentation of A. agaricites recruits, but it also indirectly affected larval 5 settlement by likely altering microbial composition in bacterial biofilms on the settlement tiles. These results indicate that future conditions of ocean warming and acidification can be deleterious for A. agaricites, particularly after settlement. If the early life stages of scleractinian corals are negatively affected by OAW conditions, successful recruitment throughout the Caribbean and Florida Reef Tract could decrease. As a result, recovery from disturbances could be hindered, thus compromising the sustainability of many coral species and other marine ecosystems that depend on coral reefs for protection, habitat, and food.

This thesis examines the ways in which the Celtic aesthetic emerges in case studies of four writers from the last century: Brian O'Nolan (under the pseudonyms Flann O'Brien and Myles na gCopaleen), David Jones, George Mackay Brown, and John McGahern. It considers a wide selection of their writing across literary genres, including the novel, the short story, the essay, and poetry, but privileges prose and fiction. This study undertakes a formal analysis of these texts using a conceptual, thematic, and critically biographical approach. The archival methodology informing such an approach brings new scholarship into focus that either aligns these authors for the first time or reevaluates their relationships. O'Nolan, Jones, Brown, and McGahern are united here because they put forward their own theories of the Celtic aesthetic and modernized these differing representational strategies when they applied them in their fictional practices. My analysis of each writer begins with a definition of the "Celtic Aesthetic" then draws out how the Celtic is represented in his literary work, showing what we gain from reading the work within a modernist Celtic aesthetic. O'Nolan proposes a Celtic realism within a modernist understanding of the unity between form and content. He writes within a collaborative framework, retrieving modes of thought and literary effects from medieval Irish sources and scholarly texts. He and his peers were concerned with making an Irish-Celtic contribution to modern literature. David Jones develops a visual aesthetic in an Anglo-Welsh context, arguing that the Celtic enhances the potential for metamorphosis through a combination of contraries. Jones establishes a connection between the First World War and ancient Welsh tradition to symbolically pattern the experience of fighting in the trenches. George Mackay Brown shares this idea about Celtic metamorphosis and war. He claims the Celtic is a decorative aesthetic, one that is bound up with Roman Catholic theology and his understanding of Eucharistic anamnesis. Writing almost exclusively about the Orkney islands, Brown portrays the Celtic as an aspect of the Orkney's archipelagic modernism, informed by his own Scottish Gaelic linguistic heritage but also connected by sea to Wales and Ireland. John McGahern implies his theory about Celtic style in his discussions of Gaelic linguistic inheritance and the effect this produces on his English writing. McGahern also shares Brown's mysticism and O'Nolan's practice of depicting eternity in the West of Ireland. There are thus three converging lines of inquiry that will frame this project: first, how does this minor strain in modernist literature animate this set of literary works? Second, how do those characteristics inform our understanding of what the term "Celtic" means in a twentieth-century context and for contemporary readers? And third, what does this contribute to the current field of modernist studies? The Celtic for these writers is transnational, hybrid, decorative, and the means through which their questions about violence and despoliation could find expression in twentieth-century literature.

No description available.

Syfte: Rapportens syfte är att kartlägga om upplevelsen av ett rum kan förändras beroende på om och vilka ljud som spelas upp i rummet.Metod: I samband med en ljudinstallation på Plattan vid Malmö Högskola har rörelsemönster och beteende för Plattans besökare observerats. Dessutom har flera besökare besvarat en enkät.Resultat: Inga eventuella förändringar i rörelsemönstret eller beteendet för Plattans besökare kan ses som en konsekvens av ljudinstallationen. Det finns inte heller någon skillnad i enkätsvaren beroende på installationen. Slutsats: Resultatet ses som en konsekvens av bristfälliga forskningsmetoder. I rapportens slutsats bildas hypotesen att en installerad ljuddesign inte är en tillräcklig åtgärd i den undersökta typen av miljö. Tesen menar att en förändring av ljudmiljön och påverkan på människors upplevelse av rummet i första hand kräver akustiska åtgärder.

Through parallelism with characteristics of magical realism, the building is materialized by deciphering the unseen images latent in ordinary life. WAAC radio station. Old Town, Alexandria, Virginia. / Master of Architecture

This paper discusses the metamorphosis in Ingvild Lothe's poetry collection Hvorfor er jeg så trist når jeg er så søt (2016). To investigate the relationship between human and nature Stacy Alaimo's term "trans-corporeality" is being used. In this paper, an analysis is being made of the poetry collection and the book cover regarding these matters. The poetry analysis is split into four sections, following the stages of the butterfly's metamorphosis. When analyzing the book cover, it is mostly viewed as an adaptation of the poems. The findings of this study suggests that there are three different types of metamorphoses in the poems and on the book cover. These are biological, symbolical and psychological. It is also found that the metamorphosis on the book cover is being more positively depicted than in the poetry collection.

Sauf par des regards fugitifs et distraits sur son travail d’illustrateur et son théâtre de marionnettes, l’histoire culturelle et littéraire n’a en général retenu de Maurice Sand que son état de fils bien-aimé de la plus célèbre écrivaine du 19e siècle. Étudiée pour elle-même, son œuvre multidisciplinaire - qui allie peinture, dessin, illustration, théâtre, histoire de l’art, sciences naturelles - se propose pourtant avec cohérence, marque d’une création soutenue plutôt que du dilettantisme où son souvenir s’est incrusté. Maurice Sand apparaît alors comme un de ces individus situés aux interstices des récits majeurs de la littérature et des arts qui, bien qu’ayant figure de minores, amènent à des réflexions nuancées sur la constitution de ces récits. Explorer son cas permet ainsi de scruter de plus près les mécanismes de la méconnaissance qui a pu et peut encore affecter un créateur et une œuvre soumis aux arbitrages mémoriels. Discrets angles morts de l’histoire, certains de ces mécanismes jalonnent clairement son parcours et les aléas de sa trace posthume. D’une part le vaste corpus des études sur George Sand, notamment des écrits biographiques et autobiographiques, fait voir à l’œuvre le mode déformant de la constitution de la mémoire d’un être saisi à partir des positions d’autrui : son existence devient cliché, elle se réduit peu à peu au rôle d’adjuvant dans des débats, passés ou actuels, qui font l’impasse sur le cours autonome de sa carrière, voire de sa vie. D’autre part la mise au jour de son œuvre, enfin vue comme un ensemble, dévoile une cause encore plus déterminante de sa méconnaissance. Presque tous les travaux de Maurice Sand sont traversés par une ligne de fantastique, au surplus connotée par son intérêt pour les sciences liées à la métamorphose, de l’ethnogénie à l’entomologie. Réinvention constante du passé, sa démarche cognitive et créatrice ignore les frontières disciplinaires, son objet est hybride et composé. L’œuvre se constitue ainsi par transversalité, trait et trame irrecevables en un siècle qui n’y perçut que dispersion, mais paradoxalement marque supérieure de qualité dans le champ éclaté où se déploient les arts de notre temps. / Aside from fleeting, inattentive glances at his illustration work and his puppet theatre, cultural and literary history has generally taken little notice of Maurice Sand except as the beloved son of the most famous woman writer of the 19th century. Yet considered on its own merits, his multidisciplinary work—in painting, drawing, illustration, theatre, art history, natural science—forms a very coherent whole, indicative of sustained creativity, rather than the dilettantism of which he is often accused. From this perspective, Maurice Sand appears to be one of those individuals whose work lies in the interstitial space between major literary and artistic narratives and who, though seemingly minor figures, prompt nuanced reflection on how those narratives are constructed. An exploration of his case is an opportunity for a closer examination of the mechanisms of misappreciation that affected, and can still affect, a creator and oeuvre that have fallen victim to the arbiters of memory. Some of those mechanisms have clearly turned various points in his career and posthumous traces into discrete blind spots of history. First, the extensive corpus of studies on George Sand, especially biographical and autobiographical writings, demonstrates how the recollection of someone constructed from the positions of others can be distorted: his existence becomes a cliché, gradually reduced to a mere adjunct to past or current discussions of his mother, which overlook his independent career and life. Second, bringing his oeuvre to light, so it can at last be seen as a whole, reveals an even more significant cause of history’s misappreciation of him. Virtually all Maurice Sand’s works are not only shot through with the fantastic, but also marked by his interest in the sciences of metamorphosis, from ethnogeny to entomology. Constantly reinventing the past, his cognitive and creative processes ignored boundaries between disciplines, embracing hybrid, composite subjects. The inherently transversal nature of his work, which made it totally unacceptable in a century that saw it as indicative of a lack of focus, is now paradoxically viewed as a mark of superior quality in the fragmented field of the arts today.

The master's thesis Witchcraft and Inquisition in literal and historical context of "El Crótalon" offers a look at displays od the Witchcraft in the literature of first half of the 16th century with special attention on classical Greek and Roman literal models. Furthermore, the thesis analyzes the influence of Erasmus'work and impact of the Reformation movement on intelectual panorama as well as on the popular opinion; it concentrates on the evolution of Witchcraft and its growing influence over the social life. It also studies how the changing caracter of the Witchcraft reflected in the literal activity of its times. Second part of the thesis is dedicated to religious aspects of the Witchcraft, its connection with heretical movements and persecutions by the Inquisition.

Made available in DSpace on 2016-04-28T20:57:24Z (GMT). No. of bitstreams: 1 Jose Marcio da Silva Costa.pdf: 365598 bytes, checksum: f394f85d815cac0f078f0a784870b5e7 (MD5) Previous issue date: 2008-05-14 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this research is to understand the contributions of a formation in theater, as an element wich is part of a general program of permanent teacher s formation, to the constitution of the identity of the teacher. Identity is considered as it is proposed on Ciampa s theory, in wich identity is constitued through social relations, and definied as metamorphosis. It was opted to a qualitative theoric-methodologic aproach. The way it was done was a no-directive interview with two teachers, based on their life histories, one of them analysed in this research. It was done an analysis of the life story of a teacher that participates of a formation in theater in Guarulho s Municipal Education. It was concluded that this formation helps the teacher to improve himself in a total way, conecting his body, his way of acting and thinking, and to change his way to be as a teacher/educator and as a human being in his life / O objetivo desta pesquisa é compreender as contribuições da formação em teatro, como elemento que faz parte de um programa geral de formação permanente de professores, para a construção da identidade do professor. A identidade é tratada a partir da teoria proposta por Ciampa, na qual a identidade é construída nas relações sociais e definida como metamorfose. Para tal, optou-se por uma abordagem teórico-metodológica qualitativa. O procedimento adotado foi a entrevista não-diretiva com duas professoras, uma delas aqui analisada, com base na narrativa da história de vida. Foi feita a análise da história de vida de uma professora que participa da formação em teatro na Rede Municipal de Educação de Guarulhos. Percebeu-se que essa formação possibilita ao professor desenvolver-se de forma integral, entrando em contato com aspectos ligados a seu corpo, sua forma de agir e de pensar. Ao ter a oportunidade de atuar em teatro, o professor produz transformações em seu modo de ser professor/educador e em sua vida como um todo

Made available in DSpace on 2016-04-28T20:58:06Z (GMT). No. of bitstreams: 1 Augusta Padilha.pdf: 742104 bytes, checksum: d2dc0efa61e1ad78acf33f29d45d5c85 (MD5) Previous issue date: 2009-11-27 / This research encompasses a study about the process of constitution of human identity. From the theoretical perspective of Ciampa, based on the historicdialectic materialism, life history narratives of undergraduate students are studied. Such universe is first of all taken as source of reference of activities and experiences assimilated along their lives, thus serving as reference to the understanding of the process of constitution of their identities. The study seeks to apprehend this process, based on the conception of the socio-historic man and of identity as a metamorphosis process. Through these life histories, the process of development of specifically human aptitudes and the human sense named conscience are analyzed. Under the light of the conceptions from the socio-historic psychology, the qualitative transformation of the conscience through embedded factors that are internal and external to men is studied, particularly in what refers to identity. For this reason, research extends to the analysis of form and content of what the students think and how they express their thoughts as narratives, considering these as the objectivation of capacities or acquisitions implied in their academic activities. We then come to the analysis of elaborations of the students and to the interactions that sustain such elaborations. Consequently, we come to the work of the Social Service Course at PUC/SP and to the implication of this work in the process of constitution of the identity of its students, in this study, represented by two of them. By focusing on the identity process as metamorphosis, research is centered in the relationship established between course-student, grounded on the pedagogic project of the course and on the professional profile it proposes. As a result of this study, the effectiveness of a process of constitution of human identities was evidenced, considering that a determined proposal of undergraduate teaching and determined kinds of learning produce movements in the identity of the students, participants of this research. That is, it is possible to organize revolutionary teaching under the capitalist roof / Esta pesquisa constitui-se num estudo sobre o processo de constituição da identidade humana. Sob a perspectiva teórica de ciampa, com base no materialismo histórico-dialético, estudam-se as narrativas de histórias de vida de alunas universitárias. Tal universo é tomado primeiramente como fonte de referência de atividades e experiências assimiladas no percurso de suas vidas, sendo, assim, referência para a compreensão do processo de constituição de suas identidades. A pesquisa busca apreender esse processo, tendo por base a concepção de homem sócio-histórico e de identidade como processo de metamorfose. Por meio dessas histórias de vida analisa-se o processo de desenvolvimento de aptidões especificamente humanas e o sentido humano chamado consciência. À luz das concepções da psicologia sócio-histórica, estuda-se, principalmente no que se refere à identidade, a transformação qualitativa da consciência por imbricamento de fatores internos e externos ao homem. A pesquisa se estende, por isso, à análise da forma e do conteúdo do que as alunas pensam e como expressam seus pensamentos em narrativas, considerando-os como objetivação de capacidades ou aquisições implicadas em suas atividades acadêmicas. Chega-se, assim, à análise de elaborações das alunas e às interações que dão sustentação a tais elaborações. Consequentemente chega-se ao trabalho do Curso de Serviço Social da PUC/SP e à implicação desse trabalho no processo de constituição da identidade de seus alunos, nesta pesquisa representados por duas deles. Com foco no processo de identidade como metamorfose, a pesquisa centra-se na relação que se estabelece entre curso-aluno tendo por base o projeto pedagógico do curso e o perfil profissional proposto por este. Assim, como resultado deste estudo, evidencia-se a efetivação de um processo de constituição de identidades humanas, mediante o que uma determinada proposta de ensino superior e determinadas aprendizagens produzem movimentos na identidade das alunas, sujeitos desta pesquisa. Ou seja, é possível, organizar um ensino revolucionário sob o teto capitalista