Thesis (D. Min.)--Trinity Evangelical Divinity School, 2001. / Abstract. Includes bibliographical references (leaves 243-246).

The purpose of this rapport/paper is to summarize and compare three different reparation methods, which can be used in repairing damaged concrete dams, which are one of the most important parts of electricity production in Sweden. Most of big dams in Sweden built between1900- 1960 are in a great need of restoration. Time, harsh winter conditions and constant presence of water have caused great damages to these dams. There are numerous restoration methods, which can be used in dam reconstruction.  However, choosing the right method plays a crucial role in terms of economy and quality for the power plant companies. Due to negatively impacting global warming, carbon dioxide emissions can also be another concern for power plant companies when selecting a reparation method. Sometimes determining and choosing the “right” method is rather difficult when facing different reparation methods.  When deciding which method to choose, comparisons are made in terms of economy, quality, and carbon dioxide emissions causing global warming. The methods compared in this rapport are applying waterjet mechanical chiseling, and Chesterton filler.  Accordingly, some boundaries are set and some, but not all, factors are taken into account.  For example, winter expenses and transportation are not included in this rapport. The method which has been used in this study is both qualitative and quantitative. In the qualitative method, interviews, literature studies and experience of experts are gathered and used. The quantitative method used for calculation of costs and CO2 (e) emissions to the air. The study shows that in a minor spalled concrete damage, the waterjet method and Chesterton filler are appropriate with regards to quality.  Mechanical chiseling is the cheapest method, and the Chesterton filler method releases the least amount of carbon dioxide to the air of all methods. Hopefully, the comparison in this rapport can aid those who want to choose a reparation method based on the criterias for the outcome/method. / Dammkonstruktioner är en av de viktigaste delarna av elproduktionen i Sverige. De flesta av de stora betongdammarna i Sverige som är byggda mellan 1900 och 1960 är i behov av reparation. Åldern, svåra vinterförhållanden och ständig närvaron av vatten påverkar dammarna negativt och orsakar skador i betongen. Det finns gott om olika reparationsmetoder som kan användas vid dammreparationer. Att välja rätt metod vid reparationer kan spela en avgörande roll när det gäller ekonomi och kvalitet för kraftverksbolagen. Då de olika metoderna resulterar i olika mycket koldioxidutsläpp till luften och därmed effekt på den globala uppvärmningen är just koldioxidutsläppen en annan faktor som kan beaktas av elbolagen när de vill välja en reparationsmetod. Valet av reparationsmetod är inte lätt. Ofta går det att välja mellan flera olika metoder. Syftet med denna rapport att upprätta sammanfattningar för tre olika reparationsmetoder vid reparation av betongdammar, samt en jämförelse mellan dessa metoder. Jämförelser har gjorts i förhållande till ekonomi, kvalitet och koldioxidutsläpp till luften. De reparationsmetoder som har jämförts i denna rapport är vattenbilning, mekanisk bilning och Chesterton spackel. För att möjliggöra jämförelsen i denna studie har några avgränsningar gjorts i för de faktorer som jämförts, bland annat har vinterkostnader och transporter inte inkluderats i jämförelsen.   Metoden i denna uppsats bygger på kvalitativ och kvantitativ studie. Den kvalitativa studien består av litteraturstudier och intervjuer genom samtal och email, och den kvantitativa studien består av beräkningar för kostnader och CO2 (e)-utsläpp med hjälp av grundvärden och faktorer för 1 m² betongyta. Studien visar att vid en enkel frostskada så är vattenbilningsmetoden och Chestertonspackel lämpligast med avseende på kvalitet. Mekanisk bilning är billigast och Chestertonspackel släpper ut minst koldioxid till luften. Förhoppningsvis kan jämförelsen i denna rapport hjälpa de som vill välja reperationsmetod baserat på önskade kriterier för slutresultatet. / <p>2017-06-27</p>

Between 1880 and 1920, both urban England and essays published in urban England underwent seismic shifts and splits, as population grew, education and technology advanced, and periodical publishing expanded. The city grew both larger in size and smaller in units of comprehensibility, and many of its people were (or were perceived by certain thinkers to be) less free and more instrumental. The periodical essay too grew more common and, at the same time, smaller in size, less free, and more instrumental, as it developed closer ties with journalism, with the industrial city, and with readers of all classes. By an examination of various forms of essaying in the period, this thesis argues that the essay's transitions parallel modernity's transitions, not only because the essay reflects or enacts or follows trends in modernity, but also because modernity at the time was conditioned by the essay's way of thinking through its form and cannot be fully understood without reference to the activities of the urban periodical essay at the time. The essay between 1880 and 1920 was a highly social genre, and this sociability manifested in a number of ways this thesis will explore. Its periodical context allowed it a ritual, patterning relationship with its readers; its brevity and limitations pushed it into dialectical, double-glancing modes of thought that complemented its fragmented setting; its tendency to direct attention away from its own form gave it a unique, constitutive role in literary modernisms; its material connections to new technologies implicated it in new doubts concerning urban modernity, and its massed readership embroiled it in fears over anti- or a-intellectual over-simplification. This thesis tells the stories of the periodical essay, in London, as an actor in modernity's transitions, by examining four concepts central to both the essay and to emergent modernity: play, the trick, doubt, and wisdom. These concepts are treated, primarily, through the work of three writers-Oscar Wilde, G. K. Chesterton, and Virginia Woolf-all of whom, in their styling of the essay, embody different moments and essayistic registers in the transitions of modernity and reveal the cross-fertilising relationship between essaying and what is meant by 'the modern'.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 90-93).

Bibliography: l. 106-108. Thesis (M.A. in Church History)--Cincinnati Christian University, 2007.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 90-93).

Between environmental and social crises, we can see a simple proposal to change. As a discipline, reshaping the way to produce and comercialize, preserving natural resources and seeking justice and equity between people, Agroecology looks to consolidate as scientific and social paradigm. Despite the efforts and results, the goal seems be far away to reach. The difficulty of popularization of Agroecology shows results of the trajectory of Enlightenment paradigm, anthropocentric, scientifically conservative and seeking unlimited development. The same paradigm had influenced the current political systems, capitalism and socialism, with its variations. Both were imbalances generators in freedom, fairness and environmental protection and are unable to give conditions to Agroecology. Therefore, we seek to bring out a political and economic system left behind in the course of history: Distributism. Excelling by different ideals, it has the power to create the ideal environment for Agroecology. To present the main characteristics of both, showing that not only are close, but complementary, a literature search was conducted, followed by practical observations in the central region of the RS, Brazil, with professionals from rural areas. In addition to visits and observations, interviews were conducted with six farmers in agroecological transition, five workers of regional cooperative extension servisse (Emater RS) and five teachers of UFSM, submitted questions on rural work, sustainability, Agroecology, motivations, advantages and limiting applications of ecology-based systems. The analysis and findings show the proximity and necessity of coexistence between Distributism and Agroecology. / Em meio a crises ambientais e sociais, vemos uma singela proposta de mudança. Como disciplina, remodelando a forma de produzir e comercializar, preservando recursos naturais e buscando a justiça e equidade entre as pessoas, a Agroecologia tenta se consolidar como paradigma científico e social. Apesar dos esforços e resultados, o objetivo parece longe de ser alcançado. A dificuldade de popularização da Agroecologia evidencia resultados da trajetória do paradigma iluminista e antropocêntrico, de enrijecimento científico e desenvolvimento ilimitado. O mesmo paradigma influenciou os sistemas políticos atuais, capitalismo e socialismo, com suas variações. Ambos foram geradores de desequilíbrios na liberdade, equidade e proteção ambiental e são incapazes de dar condições à Agroecologia. Assim sendo, busca-se trazer à tona um sistema político e econômico deixado para trás, no correr da história: o Distributismo. Primando por ideais diferenciados, tem o poder de gerar o ambiente ideal para a Agroecologia. Para apresentar as principais características de ambos, mostrando que, não apenas são próximos, mas complementares, foi realizada uma pesquisa bibliográfica de pressupostos, seguida de observações práticas, na região central do RS, Brasil, com profissionais de áreas rurais. Além de visitas e observações, foram conduzidas entrevistas com seis produtores em fase de transição agroecológica, cinco extensionistas rurais da Emater RS e cinco professores da UFSM, nas quais responderam a perguntas sobre o meio rural, sustentabilidade, Agroecologia, motivações, vantagens e limitantes de aplicações de sistemas de base ecológica, entre outras. As análises e conclusões mostram a proximidade e necessidade da coexistência entre o Distributismo e a Agroecologia.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-04-09T18:44:02Z No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-17T21:21:39Z (GMT) No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Made available in DSpace on 2018-04-17T21:21:39Z (GMT). No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) Previous issue date: 2018-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Essa pesquisa tem como objetivo principal investigar a composição do suspense narrativo – suas origens e implicações – a partir da análise das obras de Edgar Allan Poe, G.K. Chesterton e Alfred Hitchcock. Tendo como base o levantamento feito na obra de dois grandes nomes da crime-fiction literária e uma análise na obra cinematográfica do ‘mestre do suspense’, definiu-se os contos The Black Cat, de Poe, e The Honour of Israel Gow, de Chesterton, além do filme The Lodger, de Hitchcock, como modelos de narrativas paradigmáticas no conjunto das obras de cada um dos artistas em questão. Desse modo, com base nas análises narrativas e no aporte teórico acerca do suspense, colocar-se-á o embate entre culpa e inocência como elemento comum às narrativas dos três autores; bem como será discutida a hipótese de que, a partir da convergência entre elementos peculiares à obra de Poe e os particulares à obra de Chesterton, Hitchcock conseguiu criar um suspense moral bastante característico ao seu estilo de crime-fiction cinematográfico. Ou seja, como base numa simples ligação inicial – a crime-fiction – essa pesquisa pretende levantar o máximo de informações e conexões nos contos e no filme em análise a fim de compreender o suspense e o medo originados no conflito entre culpa e inocência, tanto na literatura quanto no cinema. / This research has as main objective investigating the composition of suspense narratives – their origins and implications – from the analysis of the works of Edgar Allan Poe, G.K. Chesterton and Alfred Hitchcock. On the basis of the survey on the works of two great names in literary crime-fiction and the examination on the filmography of ‘the master of suspense’: Poe’s Black Cat, Chesterton’s The Honor of Israel Gow and Hitchcock's The Lodger are defined as models of paradigmatic narratives in the oeuvres of each artist in question. Thus, based on the narrative analysis and the theoretical support about suspense, the contrast between blame and innocence will be assigned as a common element to the narratives of the three authors; as well as it will be discussed the hypothesis that Hitchcock created a moral suspense, quite characteristic to his cinema style of crime-fiction, from the convergence between peculiar elements of Poe’s work and odd elements of Chesterton’s work. In other words, based on a simple initial connection – the crime-fiction – this research intends to collect the maximum information on the stories under analysis in order to comprehend the suspense and the fear originated in the conflict between guilt and innocence, in both arts (cinema and literature).

No description available.

This study proposes an answer to the question of what the contemporary relevance of the writings of GK Chesterton (1874-1936) may be to the field of visual culture studies in general and to discourse on visual hermeneutics in particular. It contends that Chesterton’s distinctive hermeneutic strategy is dramatology: an approach rooted in the idea that being, which is disclosed to itself via language, has a dramatic, storied structure. It is this dramatology that acts as an answer to any philosophical outlook that would seek to de-dramatise the hermeneutic experience. The structure of Chesterton’s dramatology is unpacked via three clear questions, namely the question of what philosophical foundation describes his horizon of understanding, the question of what the task or goal of his interpretive process is and, finally, the question of what tools or elements shape his hermeneutic outlook. The first question is answered via an examination of his cosmology, epistemology and ontology; the second question is answered by the proposal that Chesterton’s chief aim is to uphold human dignity through his defenses of the common man, common sense and democracy; and the third question is answered through a discussion of the three principles that underpin his rhetoric, namely analogy, paradox and defamiliarisation. After proposing the structure of Chesterton’s dramatology via these considerations, the study offers one application of this dramatology to Terrence Malick’s film 'The tree of life' (2011). This is sustained in terms of the incarnational paradox between mystery and revelation that acts as the primary tension and hermeneutic key in Chesterton’s work. / Thesis (PhD)--University of Pretoria, 2012. / Visual Arts / unrestricted