Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-10T19:18:59Z No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-11T15:07:54Z (GMT) No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Made available in DSpace on 2018-04-11T15:07:54Z (GMT). No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) Previous issue date: 2018-02-27 / Essa pesquisa propõe o estudo da história em quadrinhos V de Vingança, de autoria dos britânicos Alan Moore e David Lloyd, a partir da análise estrutural da linguagem do meio, bem como do cenário teórico no qual a obra se insere, para identificarmos o diálogo existente entre os quadrinhos e a literatura. Lançaremos o olhar para uma investigação do meio a partir de sua composição estrutural inerentemente híbrida, tendo como apoio teórico as proposições de Thierry Groensteen (2015) e Scott McCloud (2005), bem como realizaremos um apanhado histórico das histórias em quadrinhos, com o suporte de García (2012) e Campos (2015). Pretendemos observar, a partir de Linda Hutcheon (1991), Lyotard (2009) e Compagnon (1999), os pressupostos que compõem o cenário teórico pós-moderno com o qual V de Vingança dialoga, ressaltando sua narrativa intertextual e fragmentária, de modo a destacar a aproximação entre a obra de Moore e Lloyd com o romance pós-moderno V. (1988), de Thomas Pynchon. Ao realizarmos uma leitura analítica da história em quadrinhos, verificaremos o diálogo da mesma com as distopias modernas, como 1984 (2009) de George Orwell, sob o aporte teórico de Jacoby (2007), Kopp (2011) e Hilario (2013), de modo a evidenciarmos como o contato com a literatura corroborou para o amadurecimento do meio proporcionando novas possibilidades narrativas para os quadrinhos. / This research proposes the study of the comic book V for Vendetta, written by the british Alan Moore and David Lloyd, from the structural analysis of the comic books language, as well as the analysis of the theoretical scenario in which the work is inserted, in order to identify the existence of a dialogue between comics and literature. The focus of this work is on the inherently hybrid structural creation of this language. The theoretical support are the proposals of Thierry Groensteen (2015) and Scott McCloud (2005). Furthermore we will make a historical catch of the comic books, with the support of García (2012) and Campos (2015). We intend to observe, from Linda Hutcheon (1991), Lyotard (2009) and Compagnon (1999), the assumptions that compose the postmodern theoretical scenario with which V for Vendetta dialogues, emphasizing its intertextual and fragmentary narrative, in order to highlight the approximation between the work of Moore and Lloyd with Thomas Pynchon's postmodern novel V. (1988). This analytical reading of comics will enable us to verify the dialogue of the comic books with the modern dystopias, such as 1984 (2009) by George Orwell, with the theoretical contribution of Jacoby (2007), Kopp (2011) and Hilario (2013), in order to show how the contact with a literature corroborated the ripening of the medium, providing new narrative possibilities for comics.

Begreppet counterinsurgency har fått stor uppmärksamhet efter 2001 och USA:s militäraengagemang i Afghanistan och Irak. USA har bedrivit ett gediget utvecklingsarbete sedan dess och en ny doktrin för just counterinsurgency presenterades 2006. Redan 1964 utkom fransmannen David Galula med en bok i ämnet. Det har alltså funnits teorier om counterinsurgency sedan dess. Sovjetunionens engagemang i Afghanistan under 1980-talet slutade med att den afghanska kommunistregimen kollapsade. Viljan att vinna konflikten borde ha funnits där och precis som USA har dragit erfarenheter, borde något ha gjorts för att försöka vinna konflikten även på 1980-talet. Syftet med denna studie är att undersöka om de parter som försökte besegra den afghanska motståndsrörelsen gjorde det på ett sätt som kom att likna Galulas teorier om counterinsurgency. Konflikten har analyserats utifrån Galulas teori om upprorsbekämpning med både politiska och militära medel. Analysen har visat att Sovjetunionen och den afghanska kommunistregimen inte utvecklade sitt sättatt hantera konflikten i en riktning som motsvarade Galulas teorier. Den primära politiska orsaken var att regimen förlitade sig på förtryck för att försöka avskräcka motståndssympatier. Detta tillvägagångssätt ledde istället till ökat stöd för motståndsrörelsen. Militärt saknades medlen att befästa närvaro i nya områden där regimen kunde ha börjat utöva inflytande. I förlängningen innebardet att regimen saknade förmåga att bredda sin inflytandesfär. / The term counterinsurgency has received a lot of attention since 2001 and the U.S commitment in Afghanistan and Iraq. The U.S has conducted thorough developmental work since then and a new doctrine on counterinsurgency was presented in 2006. As early as 1964, the Frenchman David Galula issued a book on the subject, and there have existed theories on counterinsurgency ever since. The Soviet Union’s commitment in Afghanistan during the 1980s ended with the collapse of the Afghan communist regime. The will to win the conflict should have been present there, and in the same way that the U.S have capitalized on their experiences something ought to have been done to try to win the conflict during the 1980s. The purpose of this study is to examine whether the parties involved in the fight against the Afghan resistance acted in a way that resembles Galula’s theories on counterinsurgency. The conflict has been analyzed with Galulas theories on how to defeat an insurgency by both political and military means. The analysis has shown that the Soviet Union and the Afghan communist regime did not develop their way of handling the conflict in a way which is consistent with Galula’s theories. The primary political cause was that the regime put its trust in oppression in their attempts to discourage resistance sympathies. This approach resulted in an increase in support for the Afghan resistance rather than the support of the regime. Militarily, the lack of means to secure the regime’s political presence in new areas meant that the regime was unable to broaden its sphere of influence.

Why the term 'Anglo-Scottish Struggle' between 1337 and 1346? Why 'The Perspective of English Official Documents'? What influence did the so-called 'Hundred Year's War' have on the Anglo-Scottish relations in the first years of the war? What impact did the 'Scottish issue' have on the policy of the English king during the Anglo-French conflict? How did the perspective of English official documents differ from that of English chronicles or Scottish/French primary sources? What role did the rhetoric of these source play? How was it portrayed? The following thesis will try to analyse some of the aforementioned issues and will strive to prove that the Scottish kingdom had a profound impact on the English policy in multiple respects from the outset of the Hundred Years' War until the battle of Neville's Cross almost ten years later.

Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.

1 Thesis Abstract The present thesis explores six plays written by three (post)modern American playwrights - David Mamet's Sexual Perversity in Chicago and Oleanna, Sam Shepard's Buried Child and True West, and Suzan-Lori Parksʼ The America Play and Topdog/Underdog in order to define and analyze the functions of performative storytelling in the dramatic texts as well as its effects on the characters' identity. In Reading Narrative, J. Hillis Miller analyzes performative storytelling as a human shaped process that people use in order to translate events into meaning and meaning into shared information. Moreover, in Narrative as Performance, Marie Maclean demonstrates the importance of this device in recalibrating human memory and communication and in enriching the traditional mimetic process used in theatre. These ideas are closely followed in the aforementioned American plays through the lenses of the most prominent themes of the end of the twentieth century American theatre. Each of the three American writers uses performative storytelling to delineate socio-political themes. David Mamet comments on the artificiality of the American self, Sam Shepard speaks about the importance of familial past and relationships, whereas Suzan-Lori Parks describes the impact of major national narratives on the...

This thesis is concerned with an analysis of how David Foster Wallace's treatment of technology defines his understanding of the self in late 20th-century and early 21st-century America. With a primary focus on how this understanding evolved between the publication of his major novel Infinite Jest (1996) and his posthumously published unfinished novel The Pale King (2011), this thesis also takes into consideration Wallace's ideas as expressed through his many short stories, non-fiction works, and critical essays, most prominently "E Unibus Pluram: Television and U.S. Fiction" (1993). This thesis first briefly places Wallace in the context of contemporary literary scholarship, evaluating the state and extent of the nascent field of Wallace Studies. It then proceeds to examine and map out the philosophical underpinnings to Wallace's conception of the self, emphasising the importance of existential thought and the notion that the self is to be created rather than pre-existing in the individual. Technology as it is presented in Infinite Jest and The Pale King is then examined in relation to this philosophical understanding of the self, proving itself consistently to be an impediment to the existential self-becoming valorised in the novels. Wallace's early interest in entertainment technology as...

The theme Point of View: David Lynch and intertextuality of this master thesis deals with the work of American film director David Lynch, which we view in terms of intertextuality. The aim is to show how David Lynch manipulates with intertextuality in his films Wild at Heart and Lost Highway and what other means he uses to achieve the specific atmosphere of his films. We say that it is impossible to unambiguously interpret Lynch's work and we will try to show that every of various points of view can be correct.

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Within the first chapter I highlight the extent Platonism influenced modern eschatology and motives for mission. This dualism led to separating divine and secular history and suited the philosophy of secular historians and theologian's who had no taste for divine reality purveying both everyday history, and individual lives. The second chapter discusses how these views, because of Premillennial-Dispensationalism, created American fundamentalism that changed what motivates foreign and local missions. Oppression and the poor have become nothing more than the evidences of a corrupt world that is destined to be destroyed; hence, all stress is concentrated on saving individual souls from the wrath to come. The third chapter consists in analysing David Bosch's aversion to this very notion and his reasons for avoiding apocalyptic language in many of his writings. I conclude in agreement with Bosch's motivation for mission and a similar view of eschatology which embraces a present realised kingdom and a future consummation thereof. / Christian Spirituality, Church History & Missiology / M. Th. (Missiology)

Dr. David Livingstone, the Victorian “missionary-explorer”, has attracted more written commentary than nearly any other heroic figure of the nineteenth century. In the years following his death, he rapidly became the subject of a major “biographical industry” and indeed he continues to sustain an academic industry as well. Yet, out of the extensive discourse that has installed itself around him, no single unified image of Livingstone emerges. Rather, he has been represented in diverse ways and put to work in a variety of socio-political contexts. This thesis interrogates the heterogeneous nature of Livingstone’s legacy and explores the plurality of identities that he has posthumously acquired. In approaching Livingstone’s “Lives” the methodology employed is that of metabiographical analysis, essentially a biography of biographies. This framework does not aim to uncover the true nature of the “biographee” but is rather concerned with the malleability and ideological embeddedness of biographical representation. The first chapter considers Livingstone’s own self-representation by critically analysing Missionary Travels, his best-selling travelogue. I argue that the text is more ambivalent than has hitherto been acknowledged and that its heterogeneity facilitated the diversity of Livingstone’s posthumous interpretations. The second chapter discusses Livingstone’s Victorian commemoration, exploring a body of hitherto unexamined remembrance literature, a wealth of obituaries and elegiac poetry. Focusing on a brief historical juncture, the year of his national memorial, presents an opportunity to reflect on some of the foundation stones of his legacy. The next chapter concerns itself with Livingstone’s imperialist construction, certainly his most persistent image. It discusses the way in which he was routinely re-presented in order to meet the evolving demands of empire. Yet, Livingstone was never constructed homogenously at any one colonial moment and so I argue that we should speak of his imperial legacies. The penultimate chapter considers the Scottish dimension of Livingstone’s reputation in a range of contexts, from the Celtic Revival to Kailyard. While some ignored his northern heritage, his national identity was of vital importance for others who used him to negotiate a Scottish national consciousness. The final chapter extends the concept of life-writing to include fictional portrayals of Livingstone. The focus here is primarily on postcolonial literature in which, as a cherished icon of empire, he became a focal point for critique and imaginative violence. The thesis contributes to the growing body of scholarship on life-writing and directs further attention to the changing nature and political efficacy of historical lives. Livingstone emerges as a site of competing meanings; the Victorian hero has himself become a colonised space.