La narrativa de Silvina Ocampo (1903-1993) no goza del lugar que merece en la ficción argentina y latinoamericana como obra de la principal cuentista del siglo XX. Hace relativamente poco que su obra comenzó a despertar el interés de la crítica, atención que se evidencia en la cantidad de artículos y disertaciones recientes. Mediante una disección de la narrativa ocampeana a partir de las grandes coordenadas que la intersectan se pueden caracterizar los aspectos peculiares y distintivos de su estilo. Desarrollada tras la consolidación del psicoanálisis y su influencia en la estética surrealista, la narrativa de Ocampo incorpora algunos de esos elementos. El género fantástico también se articula aunque mediante una selección de rasgos configurados a su modo. Si bien Ocampo rechaza la etiqueta de feminista, ciertos aspectos de su estilo sólo pueden explicarse a partir de la visión particular de una mujer escritora y su representación de la identidad y las relaciones. La lectura pormenorizada de varios cuentos recogidos en “Cuentos completos” I y II (1999), once volúmenes publicados durante su vida, pertenecientes a distintos períodos de su producción permiten realizar un análisis diacrónico que ofrece una caracterización redonda de su estilo y evolución. El análisis sincrónico de estos textos incorpora datos históricos acerca del contexto de producción; a la vez que otras obras literarias del período ofrecen un punto de comparación para identificar influencias y contribuciones. Este análisis, realizado desde el marco teórico de la crítica literaria, da cuenta de la presencia de constituyentes narrativos (narrador, ironía, ambigüedad) que configuran espacios de indeterminación, noción postulada por las teorías de la recepción. Éstos explican las peculiares características de la obra ocampeana: su habilidad para inquietar, intrigar, sorprender y, en suma, desestabilizar al lector y sus expectativas. Es más, sirven para explicar la idiosincrática representación de la realidad que emana de su obra, su interés en lo fantástico y la articulación de lo anti-convencional, como mecanismo subversivo para escapar del orden social dominante, lo cual revela sensibilidades protofeministas. La narrativa de Silvina Ocampo se resiste al reduccionismo y construye una visión peculiar y multifacética de la artista y su obra.

Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.

Dependency problems for developers are like sneezing for people with pollen allergies during the spring, an everyday problem. This is especially true when working in multi-repositories. The dependency problems that occur do so as a byproduct of enabling developers to work on different components of a project in smaller teams, where everything is version controlled.Nearly all developers use version control systems, such as Git, Mercurial, or Subversion. While version control systems have helped developers for nearly 40 years and are constantly getting updated, there are still functionalities that do not exist. One example of that is having a good way of managing dependencies and allowing developers to download projects without having to handle dependency problems manually. The solutions that version control systems offer to help manage dependencies (e.g., Git’s submodules or Mercurial’s subrepositories), do not enable developers a fail-safe download or build the project if it contains dependency problems.In this study, a case study was conducted at Saab Training and Simulation to explore methods for dependency management as well as discuss and highlight some of the problems that emerge when working with dependencies in multi-repositories.An argument can be made that the functionality of dependency management systems, both package managers and version control systems’ solutions are not up to date on how dependencies are used in the development, during this time.In this paper, a novel approach to dependency management is introduced with the possibility to describe the dependencies dynamically by providing the utility to describes usages of a repository (such as simulation of hardware or the main project). As well as discussing the necessary functionalities that are required to handle such a system.By re-opening the dialog about dependency management as well as describing problems that arise in such environments, the goal is to inspire further research within these areas.

Friedrich Nietzsche fait appel à un nouveau langage au service de la philosophie de l’avenir dans Par-delà le bien et le mal (1886). Son écriture s’en fait l’ostentation là même où elle se refuse à des descriptions explicites jugées trop conceptuellement fixes. Fidèle à une perspective résolument pluridisciplinaire, ce mémoire propose de souligner comment Nietzsche se tient à dessein sur la frontière mouvante entre philosophie et littérature pour mettre en œuvre ces nouveautés. Puisque la complexité du monde s’avère irréductible aux concepts philosophiques traditionnels, il s’agit plutôt d’illustrer ses vérités perspectivistes en ayant recours à la stylisation poétique et joueuse du texte. Ainsi s’expriment et s’élaborent maintes interprétations artistiquement créatrices du réel. La métaphore de la femme filée dans les œuvres de Nietzsche, qui personnifie tour à tour la vérité, la vie et la sagesse, s’avère centrale à cette pensée pleinement affirmative de la réalité. Elle met en scène des personnages féminins d’apparence voilée et pudique, entités qui se dérobent à la saisie conceptuelle tentée par la philosophie. Obéissant au principe de dévoilement de l’alètheia, la visée de celle-ci se compare à l’indécence juvénile du prétendant qui ne saurait s’y prendre pour conquérir l’objet de son amour et par là lui ferait violence. Nous proposons une exposition chronologico-thématique des diverses occurrences de la métaphore de la femme, enrichie de nombreux parallèles avec les écrits et commentaires de Jacques Derrida, de Sarah Kofman et d’Hélène Cixous. La caractérisation de figures mythologiques féminines (Sphinx, Baubô, Méduse) s’entrelaçant dans les passages étudiés indiquera que les textes de Nietzsche opèrent subrepticement des subversions de genres. La théorie queer de Judith Butler sera mobilisée afin de saisir les subtilités du bouleversement des figures canoniques de la vérité/vie/sagesse-femme et de la philosophie-homme. Il apparaîtra que ces subversions de l’identité de genre sont intimement liées à des subversions du genre textuel. L’interprétation du motif du voile, qui rattache tangiblement la métaphore de la femme à l’acception nietzschéenne du poète-philosophe de l’avenir, montrera que la valorisation des apparences par l’écriture poétique, habituellement perçues comme trompeuses, défie les formes consacrées de l’écriture philosophique et, par conséquent, l’appréhension du réel. / In Beyond Good and Evil (1886), Friedrich Nietzsche proclaims the necessity of a new language serving the philosophy of the future he envisions. While his writing refuses to advocate for explicit descriptions deemed too conceptually fixed, it becomes the ostentation of this new language. Faithful to a resolutely multidisciplinary perspective, this dissertation proposes to underline how Nietzsche’s work purposefully blurs the border between philosophy and literature. Since the complexity of the world is irreducible to traditional philosophical concepts, it is rather a matter of illustrating perspectivist truths through poetic and playful textual stylization. Many artistically creative interpretations of reality are thus expressed and elaborated through writing. Specifically, the metaphor of the woman spun in Nietzsche’s works personifies in turn truth, life and wisdom, and is central to his affirmative philosophy of reality. It depicts veiled, modest female characters, such entities evading philosophy’s attempted conceptual grasp. Obeying aletheia’s (truth’s) principle of unveiling, its aim is comparable to the juvenile indecency of the suitor who knows not how to conquer the object of his love, hence committing acts of violence toward it. I propose to exhibit chronologically and thematically the various occurrences of the metaphor of the woman, which will then be read in parallel to the works or commentaries by Jacques Derrida, Sarah Kofman and Hélène Cixous. A characterization of certain female mythological figures intertwined in the examined passages (namely the Sphinx, Baubo and Medusa) will indicate that Nietzsche’s texts surreptitiously operate gender subversions. I will call upon Judith Butler’s Queer Theory to grasp in detail the upheaval of that canonical figures represented by truth/life/wisdom-woman and philosophy-man. As a result, these gender identity subversions will appear intimately tied to subversions of the textual genre. An interpretation of the veil motif, by tangibly linking the metaphor of the woman to the Nietzschean meaning of the future poet-philosopher, will show that the valorization of appearances by poetic writing, usually perceived as deceptive, defies the consecrated forms of philosophical writing. Consequently, it has a significant incidence on human beings’ apprehension of reality or realities.

This thesis is concerned with the question of gender identification in drag culture. The research, upon which this work is based, focuses on Czech drag queens that participate in drag (travesti) show in an LGBTQ+ enterprise in Prague. In my research, I have attempted to grasp the motivation of my informants to do drag, their connection to queer culture and the ways in which they create their own aesthetic on stage. With the help of these topics, I approach the problem of their gender identification, both in and out of drag. On the basis of the collected fieldwork material and relevant literature, I problematize gender identification among my informants. On the basis of such identification, I furthermore attempt to demonstrate limitations and shortcomings of the heteronormative framework of gender performativity, gender performance and gender identification in general. Keywords: travesty show, drag, queer, homosexuality, performativity, performance, heteronormativity, gender subversion

Software development is a process fraught with unpredictability, in part because software is created by people. Human interactions add complexity to development processes, and collaborative development can become a liability if not properly understood and managed. Recent years have seen an increase in the use of data mining techniques on publicly-available repository data with the goal of improving software development processes, and by extension, software quality. In this thesis, we introduce the concept of author entropy as a metric for quantifying interaction and collaboration (both within individual files and across projects), present results from two empirical observational studies of open-source projects, identify and analyze authorship and collaboration patterns within source code, demonstrate techniques for visualizing authorship patterns, and propose avenues for further research.

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<p>Abstract</p><p>Title: Dragshow on the seven seas</p><p>Number of pages: 51 (56 including enclosures)</p><p>Author: Therése Plastrougi</p><p>Tutor: Ylva Ekström</p><p>Course: Media and Communication Studies C</p><p>Period: Fall 2007</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Purpose/Aim: My main purpose with this paper is 1) to study how film as a media can subvert traditional gender constructions and 2) study the character of Elizabeth Swann in the trilogy Pirates of the Caribbean through four dimensions; Gender performance, Class, Desire and Power.</p><p>Material/Method: My main material is the trilogy Pirates of the Caribbean. I have studied Elizabeth’s character based on semiotic and narratological methods.</p><p>Main results: Film as a media possesses the full potential to change traditional gender roles, but the full subversion is denied due to the heterosexual matrix. Elizabeth’s character almost completes her subversive journey throughout the trilogy, but since she too is a victim of the heterosexual matrix, a full subversion is not possible.</p><p>Key words: gender performance, class, desire, power, sex/gender, subversion, narratologic, semiotic, queer, feminism, pirates of the caribbean, intersectionality, parody</p>

Ce mémoire s'inscrit dans la méthode de praxéologie pastorale. Il analyse en qua-tre temps la mise en œuvre d'une exposition picturale qui oppose une figure alié-nante (conventionnelle et doucereuse) de Jésus à une vision trash (c'est à dire sub-versive et provocante) qui se veut plus fidèle à l'évangile. Le premier temps (ob-servation), qui présente le premier projet d'exposition ainsi que ses sources d'inspi-ration (personnelle, culturelle et artistique), amène à cerner deux problématique : la question de la vérité et l'orientation subversive (trash) du Jésus des évangiles. Le deuxième temps (interprétation) creuse tout d'abord la question de la vérité avec Hans Georg Gadamer, ce qui pousse à dépasser l'affirmation violente de la vérité du premier projet d'exposition pour le réorienter dans une perspective de questionnement. Par ailleurs, un modèle de dynamique trash permet de fonder la figure subversive et provocante de Jésus dans une relecture des évangiles, d’où un troisième temps (intervention) : l’amendement du premier projet d'exposition. En guise de conclusion, le quatrième temps (prospective) exporte des pointes de ré-flexion au-delà de l'interprétation concrète, à savoir au plan des questions de l'art et du public, du deuil de la vérité, de la dynamique trash et de la foi. / This dissertation is in line with what we call praxéologie pastorale. It analyses, in four cycles, the implementation of an exhibition which opposes an alienating fig-ure of Jesus (smooth and conventional) to a trash vision of him (in other words subversive and provocative), if we are to be faithful to the Bible's inscriptions. The first cycle (observation), which presents the first exhibition project as well as the inspiring sources (personal, cultural and artistic), brings us to surround two prob-lematics: the question of the truthfulness and the subversive orientation (trash) of the Bible's image of Jesus. The second cycle (interpretation) questions the truth with Hans Georg Gadamer, which brings us to surpass the violent affirmation of the truth of the first exposition project to reorient it into that of a questioning per-spective. Furthermore, an example of the trash dynamic allows us to base the sub-versive and provocative figure of Jesus by rereading the Bible; hence the third cycle (intervention): the amendment of the first exhibition project. In conclusion, the fourth cycle (prospective) pushes the reflection beyond the concrete interpreta-tion, namely, in regard to the arts and the public, the grief of the truth, the trash dynamic and the faith.