The Cork Good Shepherd Magdalen Asylum opened in the summer of 1872, and was abandoned in 1994. The number of women who passed through its walls remains unknown. Ireland’s Magdalen Laundries, a system of religious-run female penitentiaries founded to incarcerate society’s so called ‘fallen’ women, is a part of the country’s past traditionally met with reticent silence. For the atonement of their perceived sins, the inmates worked in the Magdalen laundries for no pay. The arduous labour was symbolic; the washing of soiled linen, for the purging of one’s soul. The inmates were held under no legal authority, had committed no crime, and were assigned no sentence; many women, unaware of their rights, were held in the laundries until they died. These institutions existed in Ireland over the span of three centuries, the last closing in 1996. Though a dialogue has begun to surround this chapter of Irish history, the issue remains far from resolved. The government has made no official acknowledgment or apology for their role in perpetuating such a shocking stance on social policy, while the Catholic orders responsible will not recognize the suffering caused at their hands. The Church refuses to release archival records that document the identities and numbers of the Magdalen women who worked in the laundries during the twentieth century. It is estimated that 30 000 ‘fallen’ women were put through this system - women who, with no records of their lives available, remain erased by anonymity. This lack of archival information has rendered the laundries, in Ireland’s collective consciousness, more in story than in history. The architecture that witnessed this past has since fallen victim to time. Whitewashed over with redevelopments, or left to fall into decay, the laundries, and their stories, are disappearing. Their place in the collective memory hangs in the balance, dwindling in the walls of their ruins. The sense of place, or memory, that is recorded in architecture, lingers in the folds of the ruin. Hovering like a ghost over its ashes, it becomes orphaned. As such, the preservation of place becomes laden with a sense of urgency. It becomes a problem of representation. Taking what remains of the Cork Good Shepherd Magdalen Asylum as a point of entry, I have endeavoured to decipher the fragments of the ruin as a reference to the whole, to, as Victor Hugo writes in Notre-Dame de Paris, turn the mountain of architecture into the imperishable flock of birds – the petrified memory into the narrative one. This is done in three parts. The first introduces the site’s historical and social context, composing a portrait of the building through the ephemera of its past. The second addresses the presence of absence in the return to the ruin, focusing its investigation on the imaginary space that stretches out between the shadow of the past-self, embodied in the built world, and the return of the present-self to this embodiment once it has fallen into ruin. This is followed by a series of meditative narratives constructed from the historical, latent, and projected memories contained within the ruin of the Magdalen Asylum in Cork. Part three is a rumination on the ruin, speculating on its role within human consciousness. The ruin of the Cork Good Shepherd Magdalen Asylum testifies to a dark history - one that remains largely unresolved, one that many would rather forget. This history has yet to find its place in Ireland’s collective memory and, with the vestiges of its past rapidly dissolving, it is in danger of erasure.

A valuable analytical tool to understand the event of ruin is a Gerber-Shiu discounted penalty function. It acts as a unified means of identifying ruin-related quantities which may help insurers understand their vulnerability ruin. This thesis provides an introduction to the basic concepts and common techniques used for the Gerber-Shiu analysis. Chapter 1 introduces the insurer's surplus process in the ordinary Sparre Andersen model. Defective renewal equations, the Dickson-Hipp transform, and Lundberg's fundamental equation are reviewed. Chapter 2 introduces the classical Gerber-Shiu discounted penalty function. Two framework equations are derived by conditioning on the first drop in surplus below its initial value, and by conditioning on the time and amount of the first claim. A detailed discussion is provided for each of these conditioning arguments. The classical Poisson model (where interclaim times are exponentially distributed) is then considered. We also consider when claim sizes are exponentially distributed. Chapter 3 introduces the Gerber-Shiu function in the delayed renewal model which allows the time until the first claim to be distributed differently than subsequent interclaim times. We determine a functional relationship between the Gerber-Shiu function in the ordinary Sparre Andersen model and the Gerber-Shiu function in the delayed model for a class of first interclaim time densities which includes the equilibrium density for the stationary renewal model, and the exponential density. To conclude, Chapter 4 introduces a generalized Gerber-Shiu function where the penalty function includes two additional random variables: the minimum surplus level before ruin, and the surplus immediately after the claim before the claim causing ruin. This generalized Gerber-Shiu function allows for the study of random variables which otherwise could not be studied using the classical definition of the function. Additionally, it is assumed that the size of a claim is dependant on the interclaim time that precedes it. As is done in Chapter 2, a detailed discussion of each of the two conditioning arguments is provided. Using the uniqueness property of Laplace transforms, the form of joint defective discounted densities of interest are determined. The classical Poisson model and the exponential claim size assumption is also revisited.

Thesis (M.S. in botany)--Washington State University, May 2010. / Title from PDF title page (viewed on May 21, 2010). "School of Biological Sciences." Includes bibliographical references (p. 50-54).

La thèse propose moins un inventaire des films du cinéma libanais que le relevé et l’analyse de formes cinématographiques et de pratiques artistiques contemporaines répondant aux drames, aux incertitudes, aux crises identitaires et aux amnésies forcées entraînées durablement par la guerre civile (1975-1990). à partir de la notion d’ « images d’après », on étudie la crise de la représentation qui affecte tant les modes de narration, les discours, la figuration que les formes individuelles et collectives de la mémoire et de l’histoire. de ce « nœud de tensions » découle un art de l’effritement du langage, de l’espace, du temps. une temporalité sismique problématise et brise la linéarité et la factualité, bouleversant les catégories du réel et de l’imaginaire, du documentaire et de la fiction. ce processus est d’abord questionné à travers le lyrisme et la distanciation critique de cinéastes comme borhane alaouié, maroun bagdadi et jocelyne saab, puis à travers le travail de la génération des joana hadjithomas et khalil joreige, lamia joreige, jayce salloum, mohamed soueid, akram zaatari : outre le recours fictionnel et figuratif à une temporalité spectrale conduisant ghassan salhab à faire surgir le fantastique, les créations artistiques libanaises d’après-guerre inventent et explorent une syntaxe et des matériaux esthétiques complexes capables de recréer et renouer des liens authentiques avec le réel. les œuvres d’après-guerre qui sont étudiées traduisent une pratique créatrice discursive et poétique caractérisée par l’utilisation de divers supports médiatiques, et dont la dynamique a pour source et pour effet de penser les événements traumatiques et de les historiciser. / The thesis proposes less of an inventory of lebanese films, but more so it aims to collect and analyze the cinematographic forms and contemporary artistic practices that respond to tragedies, uncertainties, identity crises, and forced amnesia resulting from the incessant civil war (1975-1990.) using the notion of ‘images in the aftermath,’ the thesis explores the crisis of representation that impacts the modes of storytelling, addressing of speech, and figuration, as well as individual and collective forms of memory and history. from this ‘knot of tensions’ stems an art of erosion of language, space, and time. a seismic temporality problematizes and breaks the linear and factual, which shakes the core of categories that are linked to the real and the imaginary, documentary and fiction. this process is at firsthand questioned with lyricism and critical distancing by filmmakers such as borhane alaouié, maroun bagdadi, and jocelyne saab, then through the works of a generation including joana hadjithomas and khalil joreige, lamia joreige, jayce salloum, mohamed soueid, and akram zaatari. in addition to the fictional and figurative use of a spectral temporality leading artists such as ghassan salhab to exploit the fantastic, the lebanese artistic creations of the post-war era invent and explore a new syntax and complex aesthetic tools capable of recreating and renewing authentic ties with the real. the post-war works that are observed and studied transliterate a creative and discursive practice that is poetic, and characterized with the use of various media whose dynamics invoke the ability to think of, and apprehend, the traumatic events that may then be historicized.

Esta dissertação apresenta uma pesquisa em Artes Visuais, está concentrada na área de Poéticas Visuais e tem como ponto de partida minha produção de intervenções realizadas durante o período de fevereiro de 2009 a novembro de 2010. Trata-se de uma reflexão que procura compreender o processo de trabalho desde sua origem e abranger a multiplicidade inerente à minha prática, que transita por diferentes técnicas, como desenho, intervenção urbana e fotografia, todos permeados por referências e conceitos. O objeto de estudo desta pesquisa refere-se à relação existente entre desenho, ruína e fotografia; e também ao desenho inserido no espaço urbano e às modificações que eles sofrem nesse espaço. A pesquisa desencadeou reflexões a respeito da apropriação, da coleta e da ruína enquanto construção. / This thesis presents a Visual Arts study, focused in Visual Poetry, having my production operations conducted from February 2009 to November 2010 as a starting point. This is a reflexion that seeks to comprehend the work process from its origin and to embrace the multiplicity that involves my own practice transiting by different techniques as drawing, photography and urban intervention, all permeated by references and concepts. The object of this research concerns about the relationship among design, photography and ruin. It also includes drawing in the urban space and the modifications that such drawing suffers in this space. The research triggered discussions due to appropriation, the gathering and the ruin while construction.

Esta dissertação apresenta uma pesquisa em Artes Visuais, está concentrada na área de Poéticas Visuais e tem como ponto de partida minha produção de intervenções realizadas durante o período de fevereiro de 2009 a novembro de 2010. Trata-se de uma reflexão que procura compreender o processo de trabalho desde sua origem e abranger a multiplicidade inerente à minha prática, que transita por diferentes técnicas, como desenho, intervenção urbana e fotografia, todos permeados por referências e conceitos. O objeto de estudo desta pesquisa refere-se à relação existente entre desenho, ruína e fotografia; e também ao desenho inserido no espaço urbano e às modificações que eles sofrem nesse espaço. A pesquisa desencadeou reflexões a respeito da apropriação, da coleta e da ruína enquanto construção. / This thesis presents a Visual Arts study, focused in Visual Poetry, having my production operations conducted from February 2009 to November 2010 as a starting point. This is a reflexion that seeks to comprehend the work process from its origin and to embrace the multiplicity that involves my own practice transiting by different techniques as drawing, photography and urban intervention, all permeated by references and concepts. The object of this research concerns about the relationship among design, photography and ruin. It also includes drawing in the urban space and the modifications that such drawing suffers in this space. The research triggered discussions due to appropriation, the gathering and the ruin while construction.

In this project I look at our relationship to Nature and how it is expressed in western material culture.  I propose that this relationship is ambivalent and paradoxical and seek means to make this evident.  I look to 18th century gardens for a historical and cultural context and to Rene Descartes for an explanation as to how this ambivalence came to be.  This is the work of someone who thinks too much, makes cynical and wide sweeping assumptions about human behavior and has access to a workshop 7 days a week for 2 years.

Connecting past and present: the historical anthropology of the small-scaled minning production in porco, bolivia Who studies and creates the narratives that surround the city of Lima’s archaeological sites, known locally as huacas? Traditionally, this has been the responsibility of professional archaeologists, who in their research and conservation efforts, as well as in their efforts to convert sites into open-air museums, tend to focus almost exclusively on the prehispanic period, when these sites were initially designed, built, used, and transformed. This approach marginalizes and even renders invisible the role these huacas had during the Colonial and Republican periods. This particular narrative is problematic, since it subjectively “freezes” sites into limited time frames, and implies that the value and significance of sitez lies solely in a very specific past. Following this narrative, huacas become static entities, instead of dynamic spaces that change over time, in which all historical periods contributed significantly to their current state. Inspired by the research, conservation, and conversion of Huaca Huantinamarca (in Lima’s San Miguel district) into a public space and open-air museum, this paper proposes to go beyond the traditional narrative and include all historical periods, including those periods perceived as “despised history”, in order to construct a narrative that is more comprehensive, authentic, and inclusive. / ¿Quién investiga y construye la narrativa de los sitios arqueológicos en la ciudad de Lima, conocidos localmente como huacas? Tradicionalmente, esta tarea ha sido responsabilidad de los arqueólogos profesionales, que, en la investigación, conservación y, sobre todo, en los trabajos de «puesta en valor», suelen privilegiar el período de construcción, uso original y transformaciones de estos sitios durante la época prehispánica, marginando e incluso haciendo invisible el papel que las huacas tuvieron durante la Colonia y la República. Esta narrativa es problemática, puesto que, de manera subjetiva, «congela» a las huacas en un periodo delimitado, y sugiere que su valor y significado se encuentra solamente en un pasado específico. Siguiendo esta narrativa, las huacas son presentadas como espacios estáticos, en vez de espacios dinámicos que cambian con el tiempo, donde todos los períodos históricos —incluido el período de ruina— contribuyen de manera significativa a su estado actual. Inspirados en la estrategia de investigación, conservación y puesta en valor aplicada en Huantinamarca en el distrito de San Miguel, proponemos ampliar la narrativa de las huacas e incluir todos los períodos históricos, incluso aquella historia percibida como «negativa» para así construir una narrativa más completa, auténtica e inclusiva.

Esta dissertação apresenta uma pesquisa em Artes Visuais, está concentrada na área de Poéticas Visuais e tem como ponto de partida minha produção de intervenções realizadas durante o período de fevereiro de 2009 a novembro de 2010. Trata-se de uma reflexão que procura compreender o processo de trabalho desde sua origem e abranger a multiplicidade inerente à minha prática, que transita por diferentes técnicas, como desenho, intervenção urbana e fotografia, todos permeados por referências e conceitos. O objeto de estudo desta pesquisa refere-se à relação existente entre desenho, ruína e fotografia; e também ao desenho inserido no espaço urbano e às modificações que eles sofrem nesse espaço. A pesquisa desencadeou reflexões a respeito da apropriação, da coleta e da ruína enquanto construção. / This thesis presents a Visual Arts study, focused in Visual Poetry, having my production operations conducted from February 2009 to November 2010 as a starting point. This is a reflexion that seeks to comprehend the work process from its origin and to embrace the multiplicity that involves my own practice transiting by different techniques as drawing, photography and urban intervention, all permeated by references and concepts. The object of this research concerns about the relationship among design, photography and ruin. It also includes drawing in the urban space and the modifications that such drawing suffers in this space. The research triggered discussions due to appropriation, the gathering and the ruin while construction.

La presente investigación aborda la novela de fin de siglo XX en Colombia entre 1990 y 2005 desde una orientación panorámica. El estudio se plantea desde el punto de vista de la escritura y se elabora a través del análisis de algunas novelas del periodo a partir de los conceptos mundo, autor, fragmento. Para ello se centra en las novelas Rosario Tijeras de Jorge Franco, Entre fantasmas de Fernando Vallejo, y Pavana del ángel de Roberto Burgos Cantor. Así las cosas el estudio presenta tres capítulos centrales. En la introducción se explica el propósito de la investigación. El primer capítulo trabaja el concepto de mundaneidad en la obra de Rosario Tijeras de Jorge Franco, dialogando con la novela Después de todo de Piedad Bonnett y El anarquista jubilado de Roberto Rubiano. El segundo capítulo intenta delimitar el concepto de autor y la forma como se configura en Entre fantasmas de Fernando Vallejo, para ello se pone en diálogo con Asuntos de un hidalgo disoluto de Héctor Abad Faciolince, Amirbar de Álvaro Mutis, Érase una vez el amor pero tuve que matarlo de Efraim Medina Reyes y Vida feliz de un joven llamado Esteban de Santiago Gamboa. El tercer capítulo analiza el modo como se presenta el fragmento en la novela Pavana del ángel de Roberto Burgos Cantor, novela que se inscribe en la tradición literaria de Colombia y, en particular, del Caribe colombiano. Dicha novela se pone en relación con la novela Opio en las nubes de Rafael Chaparro Madiedo y se relaciona también con la novela Los cuadernos de N. de Nicolás Suescún. Finalmente, en las conclusiones se busca fijar las líneas generales del camino que se ha seguido en esta investigación. / This research studies the romance on the end of the twentieth century in Colombia between 1990 and 2005 in a panoramic orientation. The analysis is approached from the point of view of writing and is made through the analysis of some novels of the period from the concepts of world, author and fragment. This research, also, is focused on the novels Rosario Tijeras by Jorge Franco, Entre fantamas by Fernando Vallejo and Pavana del angel by Roberto Burgos Cantor. On this way, the study presents three chapters; the introduction presents the purpose of the research and its explanation. The first chapter works with the concept of worldliness in the romance Rosario Tijeras by Jorge Franco, in a direct dialogue with the novel Después de todo by Piedad Bonnett and El anarquista jubilado by Roberto Rubiano. The second chapter attempts to define the concept of author and how it is configured in Entre fantasmas by Fernando Vallejo, for that purpose, it is brought into dialogue with Memorias de un hidalgo disoluto by Héctor Abad Faciolince, Amirbar by Alvaro Mutis, Érase una vez el amor pero tuve que matarlo by Efraim Medina Reyes and Vida feliz de un joven llamado Esteban by Santiago Gamboa. The third chapter discusses how the fragment is presented in Pavana del ángel by Roberto Burgos Cantor, a novel that is part of the literary tradition of Colombia and in particular, the Colombian Caribbean. This novel is set in relation to the novel Opio en las nubes by Rafael Chaparro Madiedo and also relates to the romance Los cuadernos de N., by Nicolás Suescún. The conclusion tries to define the way this research was developed.