En la presente memoria se pretende hacer un estudio histórico–comparativo de la imagen del Diablo en las tres corrientes religiosas monoteístas. A saber: Judaísmo, Cristianismo e Islam. Dada la complejidad y extensión de la temática a estudiar, el trabajo se limitará a un período histórico que comprende desde el siglo XVIII a.C. hasta el VIII d.C., específicamente la zona que comprende Egipto, Mesopotamia, Medio Oriente y el Mediterráneo, lugares donde se fundaron y desarrollaron las tres religiones antes mencionadas.

El Objetivo de esta investigación es comprender la significación y función de la figura del Diablo en la Comunidad Pentecostal de San Bernardo, vinculada con las variables de tradición y modernidad.

>Magister Scientiae - MSc / The therapeutic goal of cancer treatment is to trigger selective cell death in cancer cells. To eliminate cancerous cells effectively, the anti–cancer drugs must be targeted to the affected cells. However, anti–cancer drugs are often distributed non–specifically giving rise to systemic toxicities and other adverse effects. Cancer specific peptides are useful cancer targeting agents that can be used for the targeted delivery of anti-cancer drugs. Several cancer targeting peptides and some of their corresponding protein targets have been identified. Previous work investigated the specific binding of five of these peptides (p.C, p.H, p6.1, Frop-1 and p.L) conjugated to fluorescent nanoparticles (quantum dots) to a panel of human cell lines, which included four cancerous cell lines (Caco-2, HeLa, HT29 and HepG2) and one non-cancerous cell line (KMST-6). Flow cytometry showed that the p.L peptide preferentially bind to HT29 cells; suggesting that the expression levels of the target for the p.L peptide are higher in these cells. The objective of this study was to make use of target specific functionalised quantum dots (QDs) to deliver Second mitochondria-derived activator of caspases/ Direct AIP binding protein with low PI (Smac/DIABLO) to HT29 cells with the aim of enhancing the effects of pro-apoptotic drugs. Smac/DIABLO is a pro-apoptotic peptide that is able to interact with inhibitor of apoptosis proteins (IAPs), thereby inducing pro-apoptotic signalling. Methodology: CdSe/ZnS core-shell QDs were synthesised using the one-pot synthesis method. These QDs were characterised using photoluminescence (PL) spectroscopy, high resolution transmission electron microscopy (HR-TEM) and energy dispersive x-ray spectroscopy (EDS). The CdSe/ZnS core-shell QDs were solubilised with L-cysteine (Cys- QDs). The Cys-QDs were bi-conjugated to the p.L peptide and Smac peptide using 1-ethyl-3- (30-dimethylamino) carbodiimide (EDC) chemistry. Cultured HT29 cells were exposed to the 10 | P a g e QD peptide bi-conjugates and fluorescence microscopy was employed to assess targeting and internalisation. The cytotoxicity of the QD peptide bi-conjugates in combinatorial treatment with ceramide was evaluated using the WST-1 Cell Proliferation assay. A commercially available QD with similar chemistry was used to carry out a comparative study to relate the efficiency of the in-house synthesized QD.

It is the purpose of this study to determine what effect a two week pre-school, inservice workshop in arithmetic for Mt. Diablo elementary school teachers have arithmetic achievement scores in the middle grades of that district.

Tesis para optar al grado de Magíster en Literatura / Esta investigación tiene como objetivo analizar la figura del diablo como alegoría del capitalismo en la obra narrativa del escritor chileno Cristian Geisse: En el Regazo de Belcebú (2011), El infierno de los payasos (2013) y Ñache (2015) y la novela Ricardo Nixon School (2016) en el contexto narrativo de la postmodernidad chilena. Para eso, me interesa establecer de qué forma funciona esta alegoría y qué significado le entrega a la sociedad en la que surge, considerando los distintos contextos narrativos en los que puede reconocerse la figura del diablo. La perspectiva de análisis será una lectura cultural y materialista de los textos literarios. Además del análisis teórico propuesto anteriormente, se pretende ubicar la figura de Cristian Geisse en el contexto de la narrativa chilena contemporánea. / Diciembre 2019

Organisational culture is a long debated research field, one that is greatly influential in modern day workspace, possibly deeply affecting organisational performance. This thesis is a case study on Blizzard entertainment from 1997 to 2005, where Blizzard North and Blizzard South, two organisations, existed and worked on some of the company’s most influential games. The authors analysed and inspected the unique culture of each of the organisation, intending to understand the effect of organisational culture on video game development. The analysis is conducted utilising multiple organisational cultural theories and models. Both of the studios' organisational culture is explored in this study and the study aims to show the effect of these organisational cultures in the game development process. The importance of this research lies in studying the connection between organisational culture and the gaming development process. This research is for an audience which takes interest in starting their own company or working in one, people who want to understand how companies work and people who are interested to see different behaviours in different situations. The key findings of this study are about how organisational culture affects different aspects of game development such as design, approaches and relationships between peers.

This thesis studies the Weberian notion of rationality in the context of speedrunning and the speedrunning community. By contrasting the instrumental rationality of the speedrunning practice with the value-oriented rationality of the community, it crystallizes the difference between "performing the metrics" as an extension of community values and as a function of externally imposed constraints. The former is an expression of autonomy, while the latter an expression of heteronomy. This difference, it is argued, is found in many different areas of society, sometimes in the guise of "audit culture", at other times as an unintended side-effect of established forms of practice. In either case, a return to communal values (e.g. the sociological imagination) is seen as an antidote to becoming an extension of someone else’s metrics; autonomy is not a function of performing to external specifications, but of being able to rationally choose which measurements to use and which to leave aside. Speedrunners, in their endeavor to go fast, express such autonomy, albeit implicitly. By analyzing YouTube videos wherein runners explain their tactics and methods, this thesis endeavors to make this aspect of autonomy ever so slightly more explicit.

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The possibility of co-creation exists for all media, but game design has developed a culture that is unusually open to co-creation. This dissertation investigates significant cases of co-creation in mainstream games in order to explore how games can be co-created as alternative or critical media by their players. The core argument in the dissertation is that players co-create the design of a game only if certain conditions are met, namely: (1) player creation of a text or communication infrastructure that modifies the properties of the game and from which play emerges; (2) that this is done for a considerable group of players who share a particular practice of play; (3) that this is done not only by playing the game but by changing how others play it in a distinct creative activity, and (4), with the potential to subvert or contest the original design of the game. This situation where player creators have influence over the design of the game (but little power to enforce their interests) is problematic from the perspective of alternative or critical media, as alternative, local, production is seen as one reason for why a medium can have an alternative message. The industrial production of games as cultural commodities does limit the potential of co-creative game design for subversion because it reduces the level of participation in the creation process, thus keeping player creators relatively disempowered. Player creators do have influence on the design of the game, while at the same time having very little power to enforce their interests and design visions. The influence of player creators comes from the consumer power of millions of players who use co-created assets and who want to them to continue exiting, and this creates a mutually dependent relationship (and even partnership), between co-creators and commercial owners. The dissertation concludes that co-creative game design, despite limitations related to the industrial production of games as cultural commodities, is already happening, and shows a potential for turning games into alternative media.

Geólogo / El Cráter Morada del Diablo consiste en conos piroclásticos coalescentes múltiples con flujos de lava basáltica asociados (45-47.30% SiO2). Se edifica hasta los 240 m.s.n.m., abarca cerca de 17.877 km2 y está ubicado a unos 150 km de la ciudad de Punta Arenas, Chile. El Cráter Morada del Diablo está inmerso en el Campo Volcánico Pali Aike, que se divide en tres unidades principales que corresponden a una unidad basal de lavas de plateau, una unidad intermedia con conos piroclásticos, maares y flujos de lava asociados afectados por erosión y una unidad más joven de conos piroclásticos y flujos de lava carente de erosión y sedimentación eólica conservando los rasgos primarios. Dentro de esta última unidad se encuentra al Cráter Morada del Diablo, que a su vez tiene a la unidad Lavas del Diablo II que es el episodio volcánico más reciente del Campo Volcánico Pali Aike (<10000 años). Los conos piroclásticos de Cráter Morada del Diablo tienen una tendencia de elongación y alineamiento preferente al NW-SE, obedeciendo a uno de los controles estructurales predominantes del Campo Volcánico Pali Aike, que corresponderían a fallas reactivadas del rift Patagónico Austral del Mesozoico. La evolución eruptiva del Cráter Morada del Diablo ha sido divida en cuatros episodios, donde los dos primeros corresponden a la formación de los conos piroclásticos, Morada del Diablo I y Morada del Diablo II, y luego dos flujos de lava asociados al cono más reciente, Lavas del Diablo I y Lavas del Diablo II, todos los estadios de edad Pleistoceno - Holoceno. La unidad Lavas del Diablo II es la fase eruptiva final del Campo Volcánico Pali Aike. Las rocas pertenecientes al Cráter Morada del Diablo son basaltos alcalinos de clinopiroxeno, caracterizados por tener composiciones primitivas con valores de Mg# en promedio de 59.3 y una signatura de elementos traza similar a basaltos de islas oceánicas. El estilo de erupción de Cráter Morada del Diablo, basado en sus productos, es principalmente Hawaiiano. Sin embargo, también presenta características distintivas de erupciones tipo Estrombolianas, por lo que se relaciona de forma más precisa a un estilo de erupción transicional. La conservación de los rasgos primarios, las posibilidades de acceso, protección y difusión al pertenecer al Parque Nacional Pali Aike, hacen del Cráter Morada del Diablo una oportunidad invaluable para el desarrollo del Geoturismo y la correspondiente identificación, evaluación y cuantificación de Geositios.