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Purpose of this study was to (1) compare egg production of dubbed and non-dubbed females, (2) determine the social relationships between and among dubbed and non-dubbed females in large and small flocks maintained under various housing conditions, and (3) determined egg quality, sexual maturity, mortality, body weight and other traits of economic importance in dubbed and non-dubbed chickens. The studio involved two large flocks, each consisting of 170 Leghorn-type hybrid females and eight small flocks each composed of six White Rock females. In all flocks, the combs and wattles were removed from half of the birds. One of the large flocks was housed in a conventional type house while the other was housed in a modified solar house. The results obtained on birds in the large flocks indicate that there were no significant differences between comb treatment for any of the following traits: age of the first egg, age at 50 percent production, fall and spring egg weight, Haugh units, specific gravity, yolk mottling, blood and meat spots, body weight at 72 weeks of age, liveability and fertility. Differences between comb treatments for percentage egg production to 72 weeks of age were also not significant on a yearly basis; however, a significant comb treatment x month interaction was found. The dubbed birds laid at a higher rate during the colder months, while during the warmer months the undubbed females were superior in egg production. A definite effect from dubbing was observed in the social behavior in both the large and small flocks. In both types of flocks, the dubbed birds were subordinate to non-dubbed ones. Chickens maintained in the conventional type house reached sexual maturity significantly later and weighed significantly less than those in the modified solar house. The moisture content of the litter in the former house was significantly higher than that in the latter house during the colder months of the year. Differences between houses for other traits measured were not significant. / M.S.

Orientador: Carlos Alberto Sampaio Barbosa / Banca: Charles Monteiro / Banca: José Luis Bendicho Beired / Resumo: Gestado nas matas da Sierra Maestra, em meio aos conflitos entre rebeldes e a ditadura de Fulgencio Batista (1952-1958), o jornal Revolución dirigido por Carlos Franqui cumpria o papel de divulgar as conquistas e os ideais dos insurgentes. Com o triunfo da Revolução em 1959, o periódico deixou a clandestinidade e tornou-se um influente veículo de informação do período. Nele trabalharam vários profissionais entre os quais, fotógrafos cujos frutos de suas produções cooperaram na eternização da Revolução como um dos eventos significativos do século XX. Depois dessa virada histórica, os holofotes dos principais meios de comunicação do mundo passaram a dedicar maior atenção aos passos que seriam dados por aquele país. Logo nos primeiros meses, o jovem governo revolucionário encetou uma série de reformas em vários âmbitos da sociedade, sobretudo em regiões rurais onde predominaram durante décadas a pobreza e a ausência de serviços básicos como educação e saúde. Diante das lentes dos fotógrafos de Revolución, os camponeses cubanos passaram a ter suas condições de vida e seus rostos propagados por toda a Ilha, ao passo em que um imaginário sobre si era construído no intuito de sensibilizar, conscientizar e mobilizar a sociedade, principalmente dos centros urbanos, a participarem do processo de mudanças sociopolíticas do país. Porém, os resultados obtidos a partir da meticulosa análise quantitativa e qualitativa do montante de fotografias presentes tanto no jornal quanto no seu suplemento Campo de Revolución, organizadas e catalogadas mostraram que a moldagem desse imaginário não fora unívoca ou rígida, pois a realidade histórica vivida intensamente pelos cubanos nos primeiros três anos tornou-a flexível. Além disso, a metodologia empregada na análise das fotografias permitiu-nos discutir outros assuntos inerentes ao universo rural cubano / Abstract: Raised in the forests of the Sierra Maestra, amid conflicts between rebels and the dictatorship of Fulgencio Batista (1952-1958), the newspaper Revolución led by Carlos Franqui played the role of publicizing the achievements and ideals of the insurgents. With the triumph of the Revolution in 1959, the newspaper left the clandestine and became an influential vehicle of information of the period. In it worked several professionals among whom, photographers whose fruits of their productions cooperated in the eternalization of the Revolution like one of the significant events of century XX. After this historic turnaround, the spotlight of the world's mainstream media began to pay more attention to the steps that would be taken by that country. In the early months, the young revolutionary government embarked on a series of reforms in various areas of society, particularly in rural areas where poverty and lack of basic services such as education and health prevailed for decades. Faced with the lenses of the photographers of Revolución, the Cuban peasants began to have their living conditions and their faces propagated throughout the Island, while an imaginary about themselves was built in order to raise awareness, raise awareness and mobilize society, especially the urban centers to participate in the process of socio-political changes in the country. However, the results obtained from the meticulous quantitative and qualitative analysis of the amount of photographs present in both the newspaper and its Campo de Revolución supplement, organized and cataloged, showed that the molding of this imagery was not unequivocal or rigid, since the historical reality lived intensely by Cubans in the first three years made it flexible. In addition, the methodology used in the analysis of the photographs allowed us to discuss other subjects inherent to the Cuban rural universe / Mestre

by Wan-chaw Shae. / Bibliography: leaves 74-81 / Thesis (M.Ph.)--Chinese University of Hong Kong

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La deuxième moitié du XXe siècle a vu la prolifération des écrits littéraires à la première personne. Parmi ces textes, on compte un nombre significatif de récits d'inceste, qui se présentent parfois comme des fictions, souvent comme des témoignages. Le présent mémoire se propose d'étudier le traitement de l'inceste chez l'écrivaine française Christine Angot à travers trois de ses textes: Interview (1995), L'inceste (1999) et Quitter la ville (2000). L'hypothèse que nous voulons démontrer est que Christine Angot mobilise des enjeux inédits par rapport aux autres textes évoquant l'inceste en littérature: elle veut révéler la structure incestueuse de la logique sociale. La production littéraire à caractère autobiographique sur l'inceste forme un ensemble relativement homogène, en ce sens que son propos se construit presque invariablement sur la dichotomie entre coupable et victime, en mettant en scène la parole d'une victime qui rompt le silence sur son expérience pour s'engager sur le chemin de la guérison. Christine Angot, qui écrit à la première personne du singulier et qui met en scène une narratrice éponyme dans un cadre qui semble se référer à la réalité, ne livre, quant à elle, pas de témoignage. Malgré une évocation récurrente de l'inceste qu'elle a vécu adolescente, ses textes fonctionnent selon une économie étrangère à l'opposition caractéristique entre coupable et victime. Le texte angotien se distingue en outre par son caractère autoréflexif: en même temps qu'il déploie son propos, il se questionne sur la façon dont il va être lu. Ainsi, nous nous attacherons à démontrer que Christine Angot s'éloigne de la question de l'inceste physique qui intéresse tant les médias et, plus généralement, les lecteurs, pour faire de l'aveuglement consécutif à l'inceste une logique d'écriture dans L'inceste, ce sur quoi elle revient dans Quitter la ville pour mettre à jour la perversité de la logique sociale. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Inceste, Christine Angot, Réception, Enquête, Oedipe, Subjectivité.

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In the pessimistic world of Hans Henny Jahnn it is refreshing to find one subject which the author illuminates with hope. Youth is a theme which Jahnn portrays again and again, sensitively depicting its joys and turmoil even in his later works, when his own youth lay far behind him. The youth Jahnn glorifies is not childhood in general, but rather that time in a child's life when he stands on the threshold to manhood. [...]