Orientadores: Alberto Vazquez Saa, Amir Ordacgi Caldeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Física Gleb Wataghin / Made available in DSpace on 2018-08-21T19:06:37Z (GMT). No. of bitstreams: 1 Santarelli_Raphael_D.pdf: 2666477 bytes, checksum: ddd17159cb8299eef7c96d47293f68ea (MD5) Previous issue date: 2012 / Resumo: O objetivo deste trabalho é testar a validade da Conjectura Fraca da Censura Cósmica em espaços-tempo com buracos negros. Essa conjectura foi proposta por Roger Penrose em 1969, e diz que singularidades resultantes de colapso gravitacional de matéria fisicamente razoável estão sempre envolvidas por um horizonte de eventos, ou seja, escondidas de um observador externo. Apesar de muitas evidências a favor dessa conjectura, ela nunca foi provada. Nossa meta é analisar se essa conjectura pode ser violada classicamente sob especificas circunstâncias. Começaremos com uma introdução ao assunto, apresentando os conceitos que nos serão úteis ao longo de nosso trabalho. Depois investigaremos os trabalhos anteriores na área, que visaram destruir o horizonte de eventos de um buraco negro, criando assim uma singularidade nua (visível), e consequentemente violando a conjectura. Por fim, apresentaremos nossos resultados, que podem ser divididos em duas partes: (i) generalização dos casos clássicos obtidos anteriormente, e demonstração, sob dadas condições, da violação da conjectura para um buraco negro de Kerr-Newman e (ii) análise da validade da conjectura para um buraco negro com cinco dimensões em um espaço-tempo assintoticamente AdS, dando assim uma contribuição para a correspondência AdS/CFT / Abstract: The aim of this work is to test the Weak Cosmic Censorship Conjecture in black holes. This conjecture was proposed by Roger Penrose in 1969, and it states that singularities arising from the gravitational collapse of physically reasonable matter are always involved by an event horizon, i.e., they are hidden from an external observer. Despite so much evidence in favor of this conjecture, it has never been proven. Our aim is to analyze if this conjecture can be violated classically under specific circumstances. We will start with an introduction to the subject, presenting the concepts that will be useful throughout the work. After that, we will investigate the previous studies in the field that tried to destroy the event horizon of a black hole, creating a naked (visible) singularity, and hence violating the conjecture. Lastly, we will present our results, which may be divided in two parts: (i) generalization of the classic cases previously obtained, and demonstration, under specific conditions, of the violation of the conjecture in a spacetime with a Kerr-Newman black hole and (ii) study of the validity of this conjecture with a five-dimensional rotating black hole in a asymptotically AdS spacetime, making a contribution to the AdS/CFT correspondence / Doutorado / Física / Doutor em Ciências

D.Litt. et Phil. / Collection development as a research topic has not been given the same prominence in the context of the public library as in that of the university library. In South Africa the future of public librarianship may well be dependent on its selection policies. The selection of fiction in public libraries has been a controversial subject since the dawn of public librarianship in the late 19th century. Librarians are still being criticised, either for their elitist attitude, because of their bias towards literary works; or for their supermarket attitude, because of their preference for popular fiction. The demand versus quality debate seems to remain unresolved. Furthermore, the role of the librarian as a developer of a particular collection, has become so confused with the role of the censor in society, that the differences between the two roles warrant an exploratory study. The aim of this study is to analyse the elements and contextual factors on a macro level that may have influence on the micro decision of selecting individual fiction titles. The study focuses on three main subject areas. Firstly, literary theory as a field of scientific research underlying the practice of literary criticism is examined to obtain perspective on the phenomenon literary quality. Secondly, the development of censorship in the Western World is reviewed as a necessary background to the interpretation of the research that has been done on reader response and reading effects in a number of disciplines. Thirdly, selection theory pertaining to the public library is explored to evaluate the amount of clarification it has brought about in major problem areas. As this is mainly an exploratory study of theories, no hypotheses have been formulated to be confirmed or rejected. Rather it must be seen as qualitative research that might generate hypotheses. The scientific aim can be described as the development of a model to visually illustrate the selection decision process and the relationships of the relevant variables within its contextual framework. Literature study, description, definition, critical analysis, contextualisation, tabulation and graphical representation, constitute the methods that have been used. The role of the selector of fiction can be clearly differentiated from that of the literary critic and the censor. It has however been found that they are interdependent because of their shared interest in the text, and because their functions are theoretically based in a body of interdisciplinary knowledge. The selector of fiction can only fulfil his role effectively when he becomes conversant with this body of knowledge. It has become clear that the public library as an open system which continually interacts with its community, has to define its own mission to provide direction and motivation to all its activities, including selection. In response to its environment the objectives of the public library must be adaptable to changes. The model which has been developed, illustrates how the selection process can resolve the problem of quality versus demand, by way of the priorities given to the phases of decision-making. It has come to the fore that there is a difference between censorship and publications control. The professional selector must know that difference and be able to handle the latter as a part of the reality of the environment in which the library operates. The research has been done from the viewpoint of Reader Studies. One of the major insights gained from the study is the close relationship between this discipline, Literature Study and Ethics, as well as the other human sciences with an interest in the interaction of readers with texts. A systems approach to literature communication, that will bring about the common involvement of these disciplines, could only be beneficial to our knowledge of readership.

This paper aims to examine how sexuality is represented in six children's books who claims to be either norm critical and/or queer. I am using a qualitative method that consist of text and picture analysis designed by Stuart Hall, to examine what discourses and norms that the childrens depicts. I will also aid in the queer theoretical perspective to visualize and point out the heteronormative power structures and how they can be understood. The theoretical concepts like parenting, birth giving, biological aspect, family and stereotypes. The results of this paper shows that with help of theory, method and analysis that it is possible to determine that only one of the six chosen children's books is norm-critical and queer. The rest of the children's books shows more or less heteronormative structures and patterns that goes against the claimed norm-criticaland queer perception of the books. Not only are these five children's books recreating heteronormative structure, they are also cnhancing them. According to international research there seems to exist a trend within western children's literature whereas some sexualities are censored and placed in pecking order acoring to society's norms and values. Lastly it is therefore of crucial importance that pedagogues active in preschool continuously remain critical, analytical and evaluative toward the material they aim to acquire and use.

In Bradbury’s dystopian novel Fahrenheit 451, knowledge is illegal, and popular culture is promoted as a way to control society. Guy Montag, the central character of the book, undergoes through a journey of liberation from the oppressive system to the further achievement of the forbidden knowledge. The female characters in the book are key to his awakening and evolvement. Unfortunately during the course of the story these women perish. Using the theories of Simone De Beauvoir and Janice Radway, this essay explores the concept of “otherness” and the consumption of popular culture in a patriarchal and oppressive society. This paper also argues that the construction of the masculinity of the protagonist would not be possible without the women, and their death is a violent reaffirmation of a patriarchal order.

L'art du cinéma, depuis son arrivée en Iran et dans l'enceinte de la cour royale en 1900, a été d'emblée l'objet de contrôles émanant du pouvoir e place, pétri de croyances religieuses traditionnelles. Son étendue à la société iranienne, quatre ans plus tard, résulte des efforts des intellectuels du pays Mais, dès sa mise en présence avec le public, l'art cinématographique a dû faire face à deux antagonismes très forts dans la société: la religion et la morale; car ce média -élément patent de la modernité- était considéré par l'une et l'autre comme une source de corruption. Le cinéma, pour sa part, n'a jamais abandonné la partie. Dès les premières productions nationales et graduellement, on constate l'émergence d'œuvres qui prennent en compte l'impératif de la censure pour mieux le contourner, afin d'exprimer, de façon déguisée, au moyen de métaphores essentiellement, leurs préoccupations. Ce qui particularise le cinéma iranien comme à part dans le monde de la création cinématographique, c'est la tendance à développer un langage métaphorique provenant de son passé historique. Le cinéma iranien, en effet, a puisé son inspiration et ses fondements dans la poésie persane. Au fil de l'histoire, ses poètes -les premiers- ont appris à utiliser le biais de la métaphore pour exprimer leurs idées malgré les restrictions. Ce regard et ce caractère se sont ensuite intensifiés et ont imprégné petit à petit la société iranienne en général et les artistes en particulier. Cette façon de réagir est devenue ensuite tellement habituelle que Je peuple iranien, aussi, a commencé à l'utiliser à son tour, souvent pour exprimer ses pensées de façon indirecte et emblématique. Il sait décoder instantanément ce langage et en découvrir le message ou les messages. C'est dans ce contexte que les cinéastes iraniens sont parvenus à construire une méthode adéquate pour passer les bornes de la censure, critiquer la société iranienne à la faveur de cette transposition poétique et créer une interaction vive avec le public. Ce cheminement, qui a commencé dès la production nationale au début des années trente, s'est fortifié vers la fin des années cinquante pour se cristalliser à la fin de la décennie suivante. / The art of cinema since its emergence in Iran and on the grounds of the Royal Court in 1900 was immediately subject to censorship from the administration in power, attached to traditional religious beliefs. Its extension to Iranian society, four years later, was the result of the country intellectuals' efforts. But as soon as it was presented to the public, film art has had to face two very strong antagonisms in the society: religion and morality; because this media -major element of modernity -was considered by both as a source of corruption. The cinema, for its part, never gave up. From the first national productions, and gradually. we see the emergence of works that take into account the constraint of censorship in trying to bypass it, by expressing their concerns in disguised form essentially through metaphors. What distinguish Iranian cinema as apart from the world of filmmaking, is the tendency to develop a metaphorical language that emanate from its historical past. Iranian cinema, indeed, drew its inspiration and foundations in Persian poetry. Throughout history, poets -the first- have learned to usi metaphor to express their ideas despite the prohibition. This look and dimension are then intensified and gradually impregnated the Iranian society in general and artists in particular. This way of reacting became later so usual that the Iranian people, too, began to use it in tum often to express his thoughts through an indirect and symbolic way. He knows instantly how to decode the language and to receive the message or messages. It is in this context that Iranian filmmakers have managed to build an adequate method to pass the bounds of censorship. criticize Iranian society through this poetic transposition and create a lively interaction with the audience. This evolution. which began with the national production in the early thirties, was reinforced in the late fifties to crystallize at the end of the next decade.

Le tabou est un sujet éminemment délicat dans le champ universitaire, car il appartient, en premier lieu, à la religion, et en deuxième lieu, à la vie sociale. D'après notre étude, le statut du tabou change, au fur et à mesure que le temps passe et que la technologie progresse. En d'autres termes, Internet permet la circulation de livres et de publications interdits et les rend accessibles au plus grand nombre d'intéressés. Par exemple, des œuvres comme Les Fils de la Médina [Awlâd Hâratinâ] ou Plateforme, peuvent être tout simplement lues en ligne partout dans le monde entier. Donc, la notion de tabou religieux qui a toujours dépendu de la culture de chaque pays et du rôle qu' y jouaient les religieux dans la vie politique, religieuse et sociale, risque d'être ébranlée, ou, tout au moins d'être influencée par une diffusion que les moyens technologiques ne cessent de rendre plus rapide. / Taboo is an eminently touchy subject in the academic field as part of both religious and social life. According to our study the status of the taboo changes as time goes by and technology progresses. In other words, Internet allows the circulation of forbidden books and publications in making them available to the greatest number of readers. For instance, works such as Les Fils de la Médina or Plateforme can easily be read on the web in the entire world. Therefore, the notion of religious taboo, which has always depended upon the culture of each country and on the role of the religious entities in the political, religious and social life of the country, are at the risk of being shaken or, at least, of being influenced by a circulation that technology keeps on making easier and faster.

This thesis examines the extent to which the BBC was able to shape the output of popular culture on radio in Britain, according to its own system of beliefs, between the years 1933 and 1967. This research will show that from the outset, the BBC was an institution with a mission to inform, educate and entertain the nation. While it was not opposed to entertainment, its focus was didactic and supported a mission to improve its audience both culturally and intellectually. This policy was not always welcomed by the audience but, with the exception of the war years, persisted into mid 1950s. The Variety Department was formed in 1933 to produce all forms of light entertainment and this research will examine how its policies shaped the production of popular culture over the period concerned. This study looks not only at the workings of the Variety Department but also the topics of Americanisation and vulgarity, the two areas in which the BBC had particular sensitivities. It analyses the BBC's strategies to counteract the American effect on popular music and spoken-word programmes and how it provided its own particularly British form of entertainment in order to produce programmes it considered suitable for British audiences. It also investigates programme censorship imposed by the BBC to mitigate vulgarity in programmes, so as to produce those it considered suitable for its audiences. This thesis will contend that for over 40 years the BBC Variety Department produced popular entertainment programmes on radio which became an integral part of people's daily lives until, within a few years radio was superseded by television as the nation's principal provider of domestic entertainment. There has been no discrete study of the BBC Variety Department and it is intended that this research will add to the existing scholarship in BBC history and contribute to the analysis of radio's place in domestic popular culture in the period examined.

This thesis deals with the establishment and development of the East German press agency Allgemeiner Deutscher Nachrichtendienst (ADN). History and main development changes and tendencies of the agency are described here from its foundation in 1946 till the beginning of 1990. The chapter about cooperation between the East German agency ADN and the Czechoslovak News Agency CTK is part of the main body of the text about the ADN. The paper also gives a brief outline of history of the Soviet occupation zone of Germany and the German Democratic Republic (GDR) from 1945 till the end of 1989. Further, the view on the media sphere of the GDR and its main attributes and characteristics form a part of the paper. Regulation and control system of the media in East Germany in the second half of the 20th century is also introduced in this part.

[pt] Este trabalho debruça-se sobre as obras de Adelaide Carraro (1925-1992) e Cassandra Rios (1932-2002), comumente referidas como as maiores pornógrafas da literatura brasileira, epíteto que evoca uma glória ambígua: a de serem campeãs de vendagem, sobretudo nas décadas de 1960 e 1970, e também recordistas em títulos censurados durante a última ditadura. Procuraremos mostrar como suas – vastas – bibliografias, identificadas entre si na paixão pelo visível da tradição naturalista e na forte presença de conteúdo sexual, configuram, não obstante, projetos distintos e em boa medida opostos. Projetos estes que mantém considerável coerência interna, ao longo de anos de produção contínua, combinando transgressão e conservadorismo de modo desafiador à interpretação. Para isso, baseando-nos no pressuposto de que a crítica não deve prescindir do objeto, utilizaremos um método até aqui relativamente pouco explorado no que diz respeito a Adelaide e Cassandra: a leitura de numerosos romances de cada uma delas, bem como entrevistas e artigos publicados na imprensa. Desta forma, questionaremos algumas proposições colhidas em sua escassa fortuna crítica, como aquelas segundo as quais seus trabalhos representam conspicuamente causas libertárias, ou consistem em outra coisa que não literatura. Ao mesmo, procuraremos iluminar aspectos pouco ventilados de seu legado literário, como sejam a crueldade, o idealismo, a aspiração à pureza. / [en] This study addresses the works of Adelaide Carraro (1925-1992) and Cassandra Rios (1932-2002), often referred to as the greatest pornographers of Brazilian literature, an epithet of dubious distinction. They were best-selling authors, especially in the 1960s and 1970s, and were also among the most censured during the last dictatorship (1964-1985). Their vast bibliographies are linked by a passion for the visible, which is proper to the naturalist tradition, and by a daring sexual content. This study will show, however, that the two authors had distinct and to a large extent contrary aims. Their literary projects, which maintained a significant level of internal cohesion over a long period of constant activity, combined transgressive and conservative elements in a way that challenges interpretation. Premised on the notion that critics should take full account of their objects of inquiry, this study breaks new ground by exploring a number of novels of each author, as well as interviews and press commentary. This study questions the scant body of previous criticism that easily associates their novels with emancipatory movements or excludes them altogether from the realm of literature. At the same time, this study brings to light oft-ignored features of these works, such as cruelty, idealism, and aspirations to purity.

Magister Educationis - MEd / An important aspect of my thesis is the discussion of the various narrators in the novel; Vladimir Nabokov, John Ray Jnr. and Humbert Humbert. The novel, or Humbert’s memoirs, is only published after Lolita has died in order to preserve her dignity. John Ray Jnr. is the psychologist who is charged with editing Humbert's memoirs to ensure that no lewd details are published. This brings problems of their own, as we find that John Ray Jnr. has clear moral perceptions of Humbert as a person. This effectively creates a fiction within a fiction, which is already set in the fictitious genre of the novel. Vladimir Nabokov arguably informs the novel with his own ethics and ethos. This interrogates the reliability of the narrators and calls into question the truth-value of fiction and the inappropriateness of the law to ban fiction that discusses taboo issues. The main aim of my thesis is to discredit Humbert as a reliable narrator and character by analysing the taboo issues of paedophilia, incest, rape and murder. This will be done in order to show how Nabokov proposes alternative morals by deconstructing traditional morality using taboo topics in fiction