<p>The principal questions that are high lightened in this study are: How is the discrimination of the Indigenous people in Latin-America represented in the works of Jose María Arguedas and Miguel Angel Asturias? How are these two authors interrelated in terms of the defense of a cultural belonging? And finally, can these be associated to Paulo Coelho’s narrative content and techniques?</p><p>This work shows how, as Nelson Gonzalez-Ortega names it, a narrative discourse of resistance (based on the consequences of the cultural merging of the European and Latin-American people) is expressed and transformed into modern literature. It shows how the works of these authors protect and transmit the interests and the cultural origins of the Latin-American Indigenous people. These origins are expressed by language, myths, storytelling techniques and the presentation of an alternative perspective of the world. It also shows, through analysis of their writing, how some of these authors as dual cultural human beings struggled to balance the two cultural elements they are constituted of.</p><p>Focus will be on Asturias Hombrez de Maiz, Arguedas Los ríos profundos and Coelhos 11 minutos and El Zahir.</p>

The principal questions that are high lightened in this study are: How is the discrimination of the Indigenous people in Latin-America represented in the works of Jose María Arguedas and Miguel Angel Asturias? How are these two authors interrelated in terms of the defense of a cultural belonging? And finally, can these be associated to Paulo Coelho’s narrative content and techniques? This work shows how, as Nelson Gonzalez-Ortega names it, a narrative discourse of resistance (based on the consequences of the cultural merging of the European and Latin-American people) is expressed and transformed into modern literature. It shows how the works of these authors protect and transmit the interests and the cultural origins of the Latin-American Indigenous people. These origins are expressed by language, myths, storytelling techniques and the presentation of an alternative perspective of the world. It also shows, through analysis of their writing, how some of these authors as dual cultural human beings struggled to balance the two cultural elements they are constituted of. Focus will be on Asturias Hombrez de Maiz, Arguedas Los ríos profundos and Coelhos 11 minutos and El Zahir.

This thesis sets out to examine the making of femininity in hip-hop, with a special focus on the performances of three artists - Mykki Blanco, Angel Haze, and Brooke Candy - and their representations made through music videos and lyrics. The thesis is structured around critical femininity studies, and created through a somatechnics perspective. I am investigating how femininity and the feminine body is made through and in relation to technology and different expressions of race, class, and sexuality. By questioning how structures of femininity is made and re-made through a somatechnical perspective, this thesis offers alternatives to interpret feminine representations in hip-hop, and bases its conversation in both culture studies and critical femininity studies. In the paper‘s conclusion, questions regarding active feminist resistance in hip-hop are raised, with hope to widen the discussions about female identified artists and their performances in this specific discourse.

What psychologial processes are activated in experiencing mourning after a loss of a belovedperson? How is death described in other authors’ novels and short stories compared to mine? This essay aims at analysing my two short stories The follower and The price for love fromdifferent aspects. I discuss the psychological realism and the spirituality using the method ofclose reading, interpreting and applying ideas of texts from other authors in my short stories. Death is a central phenomenon in both of my texts. Therefore I discuss death frompsychological and philosophical aspects in this essay. To get a philosophical frame of death Iturn to Jacques Derrida, Emmanuel Levinas and Martin Heidegger. They express different opinions but important to point out is their truism that death is waiting for us all. Then I turn to Sigmund Freud, Ann-Kristin Lundmark and Lars Rönnmark to get the psychological view of death. Because of the character of the texts, I use concepts of mourning and losses from Sigmund Freud, Barbro Lennéer Axelson and Lars Rönnmark. I discuss the characters, their inner psychological processes, and relationships between persons. In this essay I indicate that mourning is a natural reaction to the loss of a beloved person. The usual mourning often follow four phases. The first phase is the chock phase, then comes the reaction phase, followed by the process phase. Finally comes the reorientation phase. The religious aspect of the stories is also explored. There my starting point is authors as Staffan Ljungman and Inger Waern, who discuss the occurrence of angels in human beings lifes. The narrator in The follower is a guardian angel, something that makes the question ofangels interesting to study. The reality aspect in the short stories is also discussed in this essay. I turn to James Wood and compare his ideas and hypotheses with my texts. James Wood present the importance of giving the reader an appearance of reality and creating vitality of the literary characters. My stories are planted in a realistic environment, the characters act and react the way real people could do in their culture and epoch. Their mourning is also similar to what human beings could experience. Therefore I come to the conclusion that my stories could regard realistic for some readers but not to other. My intention is to give the reader an atmosphere of probability. If I success is both depending on the way I send my messages as well as on the way the reader receives it. I use no special school of philosophy or psychology to analyse these texts. I analyse from the point of view of a social worker. My own conclusion of this essay is that relationships are important in my stories, as well as a capability of mourning. The religious facet is an attempt to raise the question of a possible invisible world.

This thesis explores the representation of prostitution in German Weimar films between 1919 and 1933. It theorizes that prostitutes are illustrated through characters who are public women. The women who step out of their homes to enter public, or who are somehow introduced to strangers without leaving their homes are public women. The public women in these films, as public women living in Germany, were in danger of being identified as prostitutes and becoming prostitutes. A woman’s public position made her vulnerable to the male sexualized gaze. The male sexualized gaze ultimately led to a woman’s prostitution. The thesis analyzes 4 films to demonstrate woman’s depiction as a prostitute. The first film, Nosferatu, depicts a seemingly virtuous woman whose husband begins to prostitute her, but ultimately she prostitutes herself in exchange for the service of a supernatural law. The film symbolically discusses social issues regarding prostitution, family life, and venereal disease. The second film, Metropolis, protects its public female character from the sexualized gaze with religion and motherhood at the beginning of the film. However, as the film progresses the main character, Maria, is unwillingly prostituted by the head of the society in exchange for a robot that looks like her. The robot employs the male sexualized gaze and her position as a prostitute to overturn society as a vagina dentata. The third and fourth films are The Blue Angel and Variety respectively. Both of these films depict women in public positions who use their sexuality for gain. These women prostitute themselves. They are not victims as Maria and Ellen are in the two previous films. The women in this chapter use their sexuality and prostitution as a way to attain agency. The women in these films I label as vagina dentata because they purposefully destroy men for their own gain. These women use public sexuality to find and engage their male prey as patrons before they emasculate them. The thesis views the women of Weimar films differently than other scholars have by making her the focus of the film and interpreting her public exposure as her gateway to prostitution.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 271-277). Available also in a digital version from Dissertation Abstracts.

創業天使(business angel)是一種新興的融資管道。以往創新產業利用創投事業募集創業基金，進行投資的工作。近年來創投的生態漸漸改變，除了資金挹注集中在營運中後期，創投事業也不再扮演提供管理諮詢的關鍵者角色。這時，創業天使的出現，不僅解決創業公司種子期資金不足的窘境，且積極涉入公司經營、提供產業諮詢，以增加企業的附加價值。 以往創投事業及創業公司的文獻中，僅就資本利得稅對雙方的投入影響作討論。而Elitzur and Gavious(2003)則試著加入創業天使的角色，利用三方模型衡量創業天使的加入能否對創投與創業公司間因道德危機問題產生的無效率有所改善。 本文以Elitzur and Gavious(2003)文章為基礎，加入政府的租稅政策，藉以衡量政府的介入是否對三方的投入有所助益。本文研究結果發現，只要政府課徵資本利得稅，將會使三方的投入水準減低；即使採取預算平衡的租稅政策，仍無法改變投入無效率以及創新產業收入過低的情況。因此，在現實社會中，政府不應課過重的資本利得稅，以期能使整個產業營收增加。如果採取對創投事業及創業天使資本利得補貼並搭配對投資之課稅，政府的原意乃是提高各行為參與者之資本利得，以增進效率水準；然而因課稅的過程中產生誘因降低的情況，最終反而會使三方的資本利得減少。唯有對單一參與者個別給予資本利得補貼並搭配課徵對誘因沒有影響的總額進入稅，才會使整個計畫的利得增加，達到有效率的投資水準。是故，政府的租稅政策對創業天使、創投事業及創業公司三者並不一定會達到較有效率的結果。

Sankt Gallen, University, Fiss., 2006.

This paper analyses the characters Mina and Lucy in Bram Stoker’s Dracula, showing how they are juxtaposed in terms of femininity. By using feminist criticism and the concepts of the angel in the house, monstrous femininity, and the virgin/whore dichotomy, this paper explores how Mina represents the self-sacrificing, supportive, and wifely angel in the house, while Lucy represents the sexual, disobedient, and powerful monstrous female. This is analyzed through Mina’s interactions with the men, as well as through her view on femininity, and through Lucy’s interactions with the men and with Mina. This paper then explores how these differing gender roles lead to different outcomes for the two women. Mina is excluded but is able to be purified from vampirism while still alive. In contrast, Lucy, being a threat to British Victorian femininity, has to be killed and mutilated before her memory can be purified. How well the women fit into the male community’s view of the Victorian female ideal, with Mina fitting it the best, is found to be the reason for why Lucy suffers a worse fate than Mina.

Building on previous feminist literary criticism of Elizabeth Gaskell's North and South (1854-55), this essay analyses the portrayal of wives and mothers in the novel from an intersectional feminist perspective. It examines how the narrative shows that gender and economic status or class intersect to create varied representations of Victorian women's marginalisation. The analysis argues that the novel, on the one hand, depicts wives and mothers as united by their status at "the other" in patriarchal Victorian society. On the other hand, the novel juxtaposes economically privileged and poor wives and mothers to show that they are not equally isolated, powerless, or willing to comply with Victorian gender roles. The result is a complex and empathetic portrayal of wives and mothers' privilege and poverty under patriarchy, which challenges the Victorian ideal of wives and mothers as "angels in the house".