Zugl.: Wien, University, Diss., 2003.

Texte remanié de: Th. doct.--Linguist.--Paris 4, 1994. / Bibliogr. p. 329-344. Index.

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Made available in DSpace on 2014-06-11T19:26:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-10Bitstream added on 2014-06-13T19:34:39Z : No. of bitstreams: 1 boschiero_ic_me_arafcl.pdf: 712055 bytes, checksum: 2787ee77308de0e62cb2c3351a274b4a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Assumindo o papel de praeceptor amoris (preceptor do amor), Ovídio compõe a Ars amatoria, proclamando que tal obra é capaz de tornar instruídos (docti) os que não sabem amar. O título dado à preceptística é já esclarecedor, pois evidencia a concepção de amor como ars, ou seja, o relaciona à perícia, técnica, habilidade, bem como a método, teoria, sistema de procedimentos. Além da matéria que se propõe a ensinar, o manual ovidiano possui outra característica intrigante: é um poema híbrido, ou seja, um poema didático composto em metro elegíaco e não em hexâmetro, permeado de topoi próprios das elegias. Esse hibridismo ou o entrelaçar dos corpos elegíaco e didático é que denuncia o caráter inter e metatextual da Ars amatoria. Nas elegias, o leitor é levado a crer que aqueles topoi são de fato sentimentos naturais e espontâneos. Quando esse leitor se defronta com a Ars, nota que, na verdade, eles são imitações de sentimentos. Em outras palavras, é declarado a ele que a maneira de agir de um apaixonado não passa de uma série de convenções. Assim, Ovídio remete seu leitor para outras obras elegíacas, inclusive as suas próprias (Amores, Heróides, Os remédios para o amor). Esse procedimento capacita o leitor a estabelecer relações entre textos diferentes, ou seja, mostra a ele como ler, como se engajar no discurso erótico, tornando a Ars amatoria, mais que um manual de amor, um manual de poesia. / Assuming the role of praeceptor amoris (preceptor of love), Ovid composes the Ars amatoria, proclaiming that such work is able to make experts (docti) out of those who don t know how to love. The title given to the poem is significant in itself, since it makes evident the concept of love as ars, that is, related to technique, acquired skill, as well as to method, theory, and system of procedures. Aside from the subject it teaches, the ovidian manual has another intriguing feature: it is a hybrid poem, that is, a didactic poem composed in elegiac meter, not in hexameters, permeated of elegiac topoi. Intemingling the elegiac with didactic bodies reveals the Ars amatoria s inter and metatextual feature. In elegies, the reader begins to believe that those topoi are spontaneous feelings. However, when he faces the Ars, the reader notices that those feelings are, in fact, imitations of feelings. In other words, it is declared that being as a passionate person is nothing but following a series of conventions. In order to produce such an effect, Ovid sends the readers to other elegiac works, including his ones (Amores, Heroids, Remedia amoris). By doing that, Ovid enables the reader to establish conexions between different texts, that is, he demonstrates to the reader how he can engage himself in the erotic discourse. Such a procedure makes the Ars, more than a manual of love, a manual of poetry.

Dissertation ARS MORIENDI IN THE LIGHT OF THE THEOLOGICAL PERSONALISM - POIMENICAL EXPLICATION Ruth Kubíčková Abstract The dissertation Ars moriendi in the light of the theological personalism - poimenical explication aims to investigate how the question of death, life and potential preparation for death, or life in an eschatological perspective is reflected in the realm of social sciences and philosophy, in the Scriptures and by selected systematic and personalistic theologians, in correlation with medieval ars moriendi texts; and in doing so, implicitly define central aspects defining an afterlife hope of a modern human, including its practical theological outcome leading to an authentic realization of a personal ontological responsibility.

Zugl.: Freiburg (Breisgau), Universiẗat, Diss., 2008.

“Poetry makes nothing happen,” W.H. Auden famously articulates in “In Memory of W.B. Yeats, “it survives / A way of happening, a mouth.” The Dumb Weight is a collection of poems that explores this tension, always trying to locate the body, how it speaks, its language. The poems take as their subject the act of making as a performance of knowingness, an assumed familiarity as that of an intimate listener, and attempts to navigate the space between utterance and its subject, it’s author and speaker, speaker and what is spoken, between poem and you—for if what John Ashbery writes in “Paradoxes and Oxymorons,” is true, “the poem is you.”

In Saccharomyces cerevisiae, DNA replication initiates at distinct origins termed Autonomously Replicating Sequences (ARSs). A key element in ARS is the ACS/B1 sequence, which binds the Origin Recognition Complex (ORC). During early G1 phase, the pre-replication complex is assembled by ORC. These ARSs are termed replicators. In yeast, ORC is also involved in gene silencing. These loci also contain an ACS/B1 element; however at these positions ORC recruits the silencing SIR complex. ARSs found here are termed silencers. Therefore, ARSs have a dual function. Research has also shown that origin ARSs can be substituted for silencing ARSs and vice versa. Since a mutation in ACS abolishes replication activity, studies have turned to the B1 element to account for the functional duality, but results have been mixed. I hypothesize that the B1 element plays a key role in the dual nature of ARS. To test this hypothesis, silencer and replicator ARSs were subjected to site directed mutagenesis around the WTW motif of the B1 element. Their efficiency was then tested using routine silencing and replication assays. Results reveal that the silencing ability of silencer ARSs is unaffected by these mutations; however mutations within and around the WTW motif reduce silencing efficiency of replicator ARSs. Sequence alignments have also shown that silencer ARSs have a broader WTW consensus than replicator ARSs. Preliminary replication assays are consistent with the above results and other research, contributing to a conclusion that the B1 element is not the sole determining factor in the dual nature of ARS. / NSERC

Globally, anurans have experienced significant declines and reliable monitoring protocols are required to track population trends. This thesis compares the effectiveness of manual call surveys (MCS) and automated recording systems (ARS) and describes the calling profiles of seven anuran species in southern Ontario. Using detailed audio recordings, we identify the seasonal and hourly calling patterns of seven anuran species at Warwick and Silver Creek Conservation Areas in the Credit River watershed. We employ descriptive and graphical methods to establish calling profiles. Given the low detection rate of American toads, grey treefrogs and northern leopard frogs, a survey protocol comprised of 9 weekly site visits are recommended in May and June. The optimal time of day for detecting the greatest abundance and species richness is 23h30 whereas optimal survey duration varies with hour and season given the target species. Climatic variables may induce or inhibit call activity and until the extent of these variables can be established, protocol guidelines should implement longer and more frequent site visits. The urgency of this revision is exacerbated for commercial surveys used to make contentious land management decisions.

This thesis is an exploration of Carolingian art within the context of religious devotion. The second chapter investigates the theoretical aspects related to the use of images by examining historical sources. These texts offer insight both into the types of anxieties images raised as well as contemporary attempts to reconcile these concerns. In order to determine how these theories were put into practice, the third chapter considers the manners in which the visual experience was orchestrated. To do so, shrines and reliquaries, as well as textual accounts describing encounters with them, are used to explore the messages that religious art conveyed and the means by which they did so. The fouirth chapter focuses on the figure of the maker of sacred art. The theories of religious art and implementation of them, as discussed in Chapters II and III, fundamentally relied on the craftsman who fashioned them.