The Prothrow-Stith violence prevention curriculum for high school students was adapted and presented to middle school students. An adaptation in materials, reading level and administration should not adversely effect the outcome of program participation, as the concepts that form the foundation of this curriculum are applicable to all ages. The essential question addressed in this study is as follows: Is the adapted curriculum effective? The evaluation instrument used for both pretests and posttest showed three distinct sections that were composed of general knowledge statements; statements that indicated an attitudinal predisposition toward violence; and statements that indicated a behavioral predisposition toward violence. After factor analysis the general knowledge section showed three grouping factors: factual knowledge, murder knowledge and alcohol knowledge. Factor analysis of the attitude section yielded two factors: a positive attitudinal predisposition toward violence and a negative predisposition toward violence. Seven hypotheses were tested. The analysis showed in a significant difference between the pretest and posttest for all respondents as an increase in factual knowledge; a decrease in negative attitude predisposition toward violence; and, a decrease in behavioral predisposition toward violence. There was a significant difference between the participating schools; there was no significant difference between the ages; and, results for females differed significantly from those for males. The findings imply that the adaptation of the Prothrow-Stith high school violence prevention curriculum is effective with lower grades. Designers of violence prevention, problem solving, peace making, conflict resolution and other prevention programs could look to the results of this evaluation when considering the factors that influence general knowledge, attitude and behavior toward violence. Differences between the sexes indicate an opportunity to tailor interventions and prevention strategies that stress the positive aspects of resolving conflict with peaceful, non-aggressive approaches. More detailed examination of the age differences may yield information about the influences that strengthen the quality of resilience or that indicate shifts in attitude and behavior in younger children.

Made available in DSpace on 2016-04-26T20:48:56Z (GMT). No. of bitstreams: 1 Paulo Daniel e Silva.pdf: 1892180 bytes, checksum: da778a8a9e862fd048009b654ef004ac (MD5) Previous issue date: 2009-05-22 / The objective of this work is to reform the Venezuelan oil in 2001 and its importance for economic and social development in the last period. The procedure is used to search literature and analysis of data released by public agencies responsible for programs of economic and social development. As an economy dependent on oil, Venezuela since 1943, conducting a search process of industrialization by import substitution, but because it is an unearned income economy has never in fact achieve it. With the rise of Hugo Chávez in the conduct of the Venezuelan state in 1999, still without a clear and defined project of economic and social development in the beginning of his government, but understand the need and importance of conducting institutional changes, beginning with the Reform Constitutional and oil, and that from 2001, is the state of exploitation and control of oil resources, while develop again the OPEC (Organization of Petroleum Exporting Countries) and again the oil price in international market returns filling up the country foreign exchange. From 2003, after the coup d'état, there are two main development funds, exchange controls and performs the control of capital, it is used in international reserves and surpluses of oil revenue to place in the economic development process and social in this country. It can be concluded that oil was essential to the reform process initiated development. However, with the eruption of the international financial crisis and reduction of prices of oil, obviously the crisis hit the country, but with the abundance of foreign exchange gains, it is an important source of funding for continuing the process of industrialization by substitution of import / O objetivo deste trabalho é compreender a reforma petroleira venezuelana em 2001 e sua importância para o desenvolvimento econômico e social no último período. O procedimento de pesquisa utilizado é bibliográfico e de análise de dados divulgados por órgãos públicos responsáveis por programas de desenvolvimento econômico e social. Por ser uma economia dependente do petróleo, a Venezuela desde 1943, procura realizar um processo de industrialização por substituição de importação, mas por se tratar de uma economia rentista nunca conseguiu de fato realizá-lo. Com a ascensão de Hugo Chávez na condução do Estado venezuelano a partir de 1999, sem ainda, um projeto claro e definido de desenvolvimento econômico e social em seu início de governo, mas entendendo a necessidade e importância de se realizar mudanças institucionais, começando pela Reforma Constitucional e Petroleira; e que, a partir de 2001, passa ao Estado o controle da exploração e do recurso petrolífero, ao mesmo tempo, rearticula a OPEP (Organização dos Países Exportadores de Petróleo) e novamente o preço do petróleo no mercado internacional, volta a subir enchendo o país de divisas. A partir de 2003, após o golpe de Estado, cria-se dois principais fundos de desenvolvimento, controla o câmbio e realiza o controle de capitais, com isso utiliza-se de reservas internacionais e receitas excedentes do petróleo para colocar em processo o desenvolvimento econômico e social daquele país. Pode-se concluir que a reforma petroleira foi essencial ao processo desencadeado de desenvolvimento. Entretanto, com a erupção da crise financeira internacional e a redução dos preços de petróleo, evidentemente que a crise abaterá sobre aquele país, mas com a abundância de divisas conquistadas, torna-se uma fonte importante de financiamento da continuidade do processo de industrialização por substituição de importação

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Marcos Holanda Almeida.pdf: 400164 bytes, checksum: 7813e5d7dd9ecc0496d25db791ea646d (MD5) Previous issue date: 2008-12-04 / This essay aims to achieve a possible reading of the novel, Memórias Sentimentais de João Miramar, from the theoretical concepts of film, from Eisenstein's theory of montage, once we see the need for a technique of montage in reading the chapters-fragments in this novel. In addition to the theory of montage of Eisenstein s movie, this research will also use the concept of image from Ezra Pound theory of imagism in order to understand the process of condensing the image used in Oswald de Andrade novel. We also analyze the process of metonymy, caused by telegraphic language used in the novel, and the possible presence of cubism in the concatenation of its chapters and juxtaposition-pieces in order to corroborate the theory that Oswald de Andrade anticipates several concepts of modern literary theory, creating, therefore, a real poetry of visuality in his work / Esta dissertação tem por objetivo alcançar uma possível leitura do romance, Memórias Sentimentais de João Miramar, a partir das concepções teóricas do cinema Eisensteiniano, uma vez que constatamos a necessidade de uma técnica de montagem na leitura dos capítulos-fragmentos presentes na obra oswaldiana. Além da teoria da montagem do cinema eisensteiniano, esta pesquisa também fará uso do conceito de imagismo poundiano, a fim de compreender o processo de condensação da imagem utilizado na prosa miramariana. Analisaremos também o processo de construção metonímico, provocado pela linguagem telegráfica utilizada no romance, e a possível presença do cubismo na concatenação e justaposição dos seus capítulos-fragmentos, a fim de corroborar a tese de que Oswald antecipa diversos conceitos da moderna teoria literária, criando, portanto, uma verdadeira poética da visualidade em sua obra

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-25T11:54:43Z No. of bitstreams: 1 Danilo Gustavo Bispo.pdf: 1616324 bytes, checksum: cbc43e66f323825f005da2c275dfa256 (MD5) / Made available in DSpace on 2018-07-25T11:54:43Z (GMT). No. of bitstreams: 1 Danilo Gustavo Bispo.pdf: 1616324 bytes, checksum: cbc43e66f323825f005da2c275dfa256 (MD5) Previous issue date: 2018-04-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to expose the study of some aspects that permeated the emergence of Computing Theory of Alan Mathison Turing at the beginning of the 20th century. According to previous research, it is suggested that this occurred in part, due to a theoretical consequence of the development of mathematics. At the end of the nineteenth century there was an effort expended by some thinkers whose aim was to clarify the nature of truth in mathematics, a problem put in sharp evidence by the turbulent stage in the development of mathematical thinking between about 1870 and 1940 with the emergence of new types of geometry. This stage can also be interpreted as "the crisis of fundamentals" and visualized as the outcome of the development phase corresponding to the emergence of contemporary science. Within this context, the idea will now be to broaden the research to identify details of the projects that were not successful but that also had their contribution or influenced in some way the emergence of the theory that established key concepts for the digital computer model / O presente trabalho tem como objetivo expor o estudo de alguns aspectos que permearam o surgimento da Teoria da Computação de Alan Mathison Turing no início do século XX. De acordo com pesquisa, sugere-se que isso tenha ocorrido em parte, devido a uma consequência teórica do desenvolvimento da matemática. No final do século XIX houve um esforço despendido por parte de alguns pensadores cujo o intuito estava em clarificar a natureza da verdade em matemática, problema posto em aguda evidência pela turbulenta etapa no desenvolvimento do pensamento matemático ocorrido entre aproximadamente 1870 e 1940 com o surgimento de novos tipos de geometria. Esta etapa também pode ser interpretada como "a crise dos fundamentos" e visualizada como o desfecho da fase de desenvolvimento correspondente ao surgimento da ciência contemporânea. Dentro deste contexto, a ideia será agora ampliar a investigação procurando identificar detalhes dos projetos que não foram bem-sucedidos, mas que também tiveram sua contribuição ou influenciaram de algum modo o surgimento da teoria que estabeleceu conceitos chave para o modelo do computador digital

Chan Ching Yee Rose. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 133-136). / Abstracts in English and Chinese. / Abstract --- p.i / 內容提要 --- p.iii / Acknowledgements --- p.iv / Contents --- p.v / Chapter Chapter One: --- The Location of Hong Kong and Hongkong Yan --- p.1 / Chapter Chapter Two: --- Hongkong Yan on a Flying Carpet: The Duality of Chineseness and Foreignness --- p.29 / Chapter Chapter Three: --- The Splitting of Stereotype in The Evergreen Tea House --- p.56 / Chapter Chapter Four: --- Decadence and Unhomeliness in Hong Kong: The Unwalled City --- p.83 / Chapter Chapter Five: --- The Hybridity of Two “Winds´ح： The Essence of Hongkongness --- p.109 / Bibliography --- p.133

Made available in DSpace on 2016-04-28T20:40:04Z (GMT). No. of bitstreams: 1 Joyce Salgueiro Migliavasca.pdf: 1540632 bytes, checksum: 2942237fb45ccf27f4927f87ba146cfd (MD5) Previous issue date: 2009-05-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to perform a psychoanalytic reading about Frida Kahlo´s life and her work as well. Frida Kahlo was chosen as an object of studying because, meanly, she presents, for Psychoanalyses, female hysteria symptoms. In order to make this piece of work understood we used Freudian theory and writers that contributed to Freud´s thoughts and to the female psyche constitution and also to the disarrangements that cause the neurosis hysteric. After that I did psychoanalytic interpretations about life and work of the author on target / O objetivo desta dissertação é realizar uma leitura psicanalítica a respeito da vida e da obra de Frida Kahlo. O meu intuito de utilizar a biografia e a obra de Frida Kahlo como objeto de estudo deve-se, principalmente, ao fato dela apresentar características que podem ser compreendidas, à luz da psicanálise, como histeria feminina. Para tornar claro esse entendimento, nesta dissertação, parto da teoria freudiana e de autores que com ela contribuem sobre a constituição psíquica feminina e os desarranjos que ocasionam a neurose histérica , e após isto, faço interpretações psicanalíticas acerca da vida e da obra da artista em questão

Le présent mémoire a pour but de procéder à une étude de l’oeuvre La Naissance du Jour, de Colette, parue en 1928. Pour atteindre cet objectif, un parcours de trois chapitres a été proposé. D’abord, les données biographiques et bibliographiques sont mises en évidence, lors du premier chapitre. Dans le second chapitre, l’analyse de l’oeuvre é réalisée, à la lumière de ses composants, ses thèmes et ses éléments fondamentaux. Les réflexions principales éveillées lors de la lecture de l’oeuvre sont exposées dans le dernier chapitre. Les observations originaires de l’appréhension de ce parcours d’analyse tiennent à montrer que La Naissance du Jour suscite une discussion notable sur le « réel » et le « fictionnel » à travers la confrontation des genres autobiographique et autofictionnel et le traitement spécifique de la catégorie espace-temps. D’après les différentes conceptions d’écriture dégagées de l’oeuvre colettienne, nous arrivons à comprendre l’acte d’écrire chez Colette comme un jeu de sensations et de sens où le sujet, le « je », est immergé dans un miroir de langage, par lequel il se (re)construit. / Esta dissertação tem por objetivo proceder ao estudo da obra La Naissance du Jour, de Colette, publicada em 1928. Para tanto, foi proposto um percurso de três capítulos. Primeiramente, os dados biográficos e bibliográficos são evidenciados no primeiro capítulo. No segundo capítulo, a análise da obra se faz, à luz de seus componentes, temas e elementos fundamentais. As principais reflexões despertadas durante a leitura da obra são apresentadas no último capítulo. As considerações originadas por este percurso de análise mostram que a obra suscita uma importante discussão sobre o “real” e o “ficcional”, por meio da confrontação dos gêneros autobiográfico e autoficcional e o tratamento específico da categoria espaço-tempo. De acordo com as diferentes concepções de escrita obtidas na obra de Colette, nós podemos chegar à compreensão do ato de escrever como um jogo de sensações e de sentidos em que o sujeito, “eu”, permanece imerso em um espelho de linguagem, pelo qual ele se (re)constrói.

This dissertation analyzes how twentieth- and early twenty-first- century novelists respond to the English landscape through their presentation of narrative and their experiments with novelistic form. Opening with a discussion of the English planning movement, "Narrative Topography" reveals how shifting perceptions of the structure of English space affect the content and form of the contemporary novel. The first chapter investigates literary responses to the English landscape between the World Wars, a period characterized by rapid suburban growth. It reveals how Virginia Woolf, in Mrs. Dalloway and Between the Acts, reconsiders which narrative choices might be appropriate for mobilizing and critiquing arguments about the relationship between city, country, and suburb. The following chapters focus on responses to the English landscape during the present era. The second chapter argues that W. G. Sebald, in The Rings of Saturn, constructs rural Norfolk and Suffolk as containing landscapes of horror--spaces riddled with sinkholes that lead his narrator to think about near and distant acts of violence. As Sebald intimates that this forms a porous "landscape" in its own right, he draws attention to the fallibility of representation and the erosion of cultural memory. The third chapter focuses on Kazuo Ishiguro's Never Let Me Go, a novel in which a cloned human being uses descriptions of landscape to express and, more often, to suppress the physical and emotional pain associated with her position in society. By emphasizing his narrator's proclivity towards euphemism and pastiche, Ishiguro intimates that, in an era of mechanical and genetic reproduction, reliance on perspectives formed in past and imagined futures can be quite deadly. The fourth chapter analyzes Ian McEwan's post 9/11 novel, Saturday--a reworking of Woolf's Mrs. Dalloway. In reading these two novels side-by-side, it reveals how London, its suburbs, and the English countryside might be imagined differently in the contemporary consciousness. Together these chapters investigate why novelistic treatments of the English landscape might interest contemporary readers who live outside England (and/or read these works in translation), especially during an era in which the English landscape has ceased to function as the real or metaphorical center of empire.

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.

Essa dissertação consiste de uma leitura crítica do romance The House on Mango Street da autora Chicana Sandra Cisneros. O foco da minha leitura recai sobre Esperanza, a narradora do romance, e sua busca por um lar como representativo de sua necessidade de autoafirmação e desenvolvimento de sua identidade. Essa monografia analisa a questão identitária de um sujeito culturalmente híbrido e analisa ainda vários aspectos da narrativa, como a língua, o desejo que leva a tal narrativa e a questão de gênero. O uso das duas línguas, Espanhol e Inglês, é também marca dessa cultura híbrida. As representações femininas também são analisadas no romance. As figuras do imaginário mexicano influenciam e marcam o perfil das mulheres Mexicanas e Chicanas que aparecem na obra. O romance pode ser considerado como representativo de um discurso Chicano, no qual podemos acompanhar Esperanza em sua trajetória de crescimento em direção à vida adulta. O aporte teórico utilizado compreende autores que investigam questões identitárias, como Stuart Hall e Homi Bhabha, de gênero, como Cherríe Moraga e Gloria Anzaldúa e questões relativas aos mitos representativos do feminino no imaginário mexicano, através da análise de Octavio Paz. / This dissertation consists of a critical reading of the novel The House on Mango Street by Chicana author, Sandra Cisneros. The focus of my reading is on the narrator, Esperanza, and her quest for a home as emblematic of her need of self-assertion and the development of her identity. This study analyses identity issues of a culturally hybrid individual, and also several features of the narrative, such as the language, the desire that thrusts this same narrative, and gender issues. The use of the two languages, Spanish and English, is also a characteristic o this hybrid culture. The female representations are also analyzed in the romance. The female figures in the Mexican imaginary influence and mold the profile of the Mexican and Chicana women that are depicted in the novel. The novel can be considered as a representative of a literary Chicano discourse, in which we can follow Esperanza in her growth journey towards adulthood. The theoretical assumptions used in the analyses comprehend scholars who investigate identity issues, such as Stuart Hall and Homi Bhabha, gender, such as Cherríe Moraga and Gloria Anzaldúa, and the representation of women under the scope Octavio Paz’s studies of Mexican myths that portray female models.