Made available in DSpace on 2014-12-17T14:35:50Z (GMT). No. of bitstreams: 1 GiselleCS_tese.pdf: 1424263 bytes, checksum: 0a3b291c39e9d1dfd7f82f5c1ef897a3 (MD5) Previous issue date: 2008-06-13 / The present study has as objective to explaining about the origins of the mathematical logic. This has its beginning attributed to the autodidactic English mathematician George Boole (1815-1864), especially because his books The Mathematical Analysis of Logic (1847) and An Investigation of the Laws of Thought (1854) are recognized as the inaugural works of the referred branch. However, surprisingly, in the same time another mathematician called Augutus of Morgan (1806-1871) it also published a book, entitled Formal Logic (1847), in defense of the mathematic logic. Even so, times later on this same century, another work named Elements of Logic (1875) it appeared evidencing the Aristotelian logic with Richard Whately (1787-1863), considered the better Aristotelian logical of that time. This way, our research, permeated by the history of the mathematics, it intends to study the logic produced by these submerged personages in the golden age of the mathematics (19th century) to we compare the valid systems in referred period and we clarify the origins of the mathematical logic. For that we looked for to delineate the panorama historical wrapper of this study. We described, shortly, biographical considerations about these three representatives of the logic of the 19th century formed an alliance with the exhibition of their point of view as for the logic to the light of the works mentioned above. In this sense, we aspirated to present considerations about what effective Aristotelian?s logic existed in the period of Boole and De Morgan comparing it with the new emerging logic (the mathematical logic). Besides of this, before the textual analysis of the works mentioned above, we still looked for to confront the systems of Boole and De Morgan for we arrive to the reason because the Boole?s system was considered better and more efficient. Separate of this preponderance we longed to study the flaws verified in the logical system of Boole front to their contemporaries' production, verifying, for example, if they repeated or not. We concluded that the origins of the mathematical logic is in the works of logic of George Boole, because, in them, has the presentation of a new logic, matematizada for the laws of the thought similar to the one of the arithmetic, while De Morgan, in your work, expand the Aristotelian logic, but it was still arrested to her / O presente estudo tem como objetivo uma elucida??o das origens da l?gica matem?tica. Esta tem seu in?cio atribu?do ao matem?tico ingl?s autodidata George Boole (1815-1864), especialmente porque seus livros The Mathematical Analysis of Logic (1847) e An Investigation of the Laws of Thought (1854) s?o reconhecidos como as obras inaugurais do referido ramo. Contudo, curiosamente, na mesma ?poca um outro matem?tico chamado Augutus de Morgan (1806-1871) tamb?m lan?ou um livro, intitulado Formal Logic (1847), em defesa da matematiza??o da l?gica. Mesmo assim, tempos depois neste mesmo s?culo, uma outra obra nomeada Elements of Logic (1875) surgiu evidenciando a l?gica aristot?lica a partir da figura de Richard Whately (1787-1863), considerado o maior l?gico aristot?lico da ?poca. Desta forma, nossa pesquisa, permeada pela hist?ria da matem?tica, prop?e estudar a l?gica produzida por estes personagens imersos na idade ?urea da matem?tica (s?culo XIX) a fim de compararmos os sistemas vigentes no referido per?odo e clarificarmos as origens da l?gica matem?tica. Para isso buscamos delinear o panorama hist?rico envolt?rio deste estudo. Descrevemos, brevemente, considera??es biogr?ficas destes tr?s representantes da l?gica do s?culo XIX aliadas ? exposi??o de seus pontos de vista quanto ? l?gica ? luz das obras citadas acima. Neste sentido, aspiramos ainda apresentar considera??es acerca do que existia de l?gica aristot?lica vigente no per?odo de Boole e De Morgan comparando-a com a nova l?gica emergente (a l?gica matem?tica). Al?m disso, diante da an?lise textual das obras citadas acima, buscamos ainda confrontar os sistemas de Boole e De Morgan a fim de chegarmos ao motivo pelo o qual o de Boole ter sido considerado melhor e mais eficiente. ? parte desta preponder?ncia, almejamos estudar as falhas constatadas no sistema l?gico de Boole frente ? produ??o de seus contempor?neos, verificando, por exemplo, se elas se repetiram ou n?o. Conclu?mos que as origens da l?gica matem?tica residem nas obras de l?gica de George Boole, visto que, nelas, h? a apresenta??o de uma nova l?gica, matematizada pelas leis do pensamento an?logas ?s da aritm?tica, enquanto De Morgan conseguiu em seu trabalho expandir a l?gica aristot?lica, mas ainda esteve preso a ela

This dissertation traces imperialist ideology as it functions in the texts of two radical Liberal critics of imperialism, Leonard Woolf and E. M. Forster. In chapters two and three respectively, I read Woolf's autobiographical account Growing and his novel The Village in the Jungle to examine connections between "nonfictional" and "fictional" writing on colonialism. The autobiography's fictive texture compromises its claims to facticity and throws into relief the problematic nature of notions of truth and fact in colonialist epistemology and discursive systems.

This thesis examines the figure of Medusa in the works of three Victorian women: the poets Elizabeth Barrett Browning (1806-1861) and Christina Rossetti (1830-1894), and the artist Evelyn De Morgan (1855-1919). For many in an era that sought to categorize women according to rigid social boundaries, Medusa embodied all that is suspicious, dangerous, and alluring about women. But in subtle and unexpected ways, these three women reimagined the Medusa archetype and used it to explore female experience and expression, as well as the challenges and complexities of female authorship. In their works, Medusa, like other hybrid personae such as the mermaid and the lamia, became a figure through which to explore liminal spaces and slippery categories. I argue that these women prefigured the twentieth-century feminist rehabilitation of Medusa. I also suggest that this proto-feminist transformation of the myth draws, directly and indirectly, from the tradition of Ovid, the first poet to suggest that Medusa’s monstrosity resulted from her victimhood and that her power is not merely destructive, but also creative. My analysis contends that, contrary to common understanding, women were revisioning Medusa’s meaning well before the twentieth century.

No description available.

This dissertation argues that climate is both a meteorological reality and an ideological term that operates in the discursive matrix of empire. Nowhere was this more perceptible than the tropics, which were the most prolific theater for conquest and colonization, generating discourses that traveled across empires, constructing the tropics as a region of untold wealth that was hostile to European health. This dissertation considers how figurations of the climate in works set across the tropics from 1899 to 1992 negotiated the ideological paradoxes that surrounded the end of empire, the political and aesthetic project of decolonization, and a postcolonial reckoning with Atlantic World Slavery. Through readings of works by Joseph Conrad, E.M. Forster, Alejo Carpentier, Pepetela, and Caryl Phillips, I show how colonial theorizations of the tropics as a counter-civilizational force resonated across British, Spanish, and Portuguese discourses of the tropics that cut across Africa, South Asia, Latin America, and the Caribbean. This shared theorization, which imagines tropical climates as destructive to the trappings of European colonial modernity, interrogates the stability of empire and becomes a means to imagine alternate political realities.

<p>Human L-glutamine:D-fructose-6-phosphate amidotransferase 1 (hGFAT1) is the first and rate-limiting enzyme of the hexosamine biosynthesis pathway (HBP) and is a potential target to help prevent secondary complications of type II diabetes. GFAT catalyzes the irreversible reaction between L-glutamine and D-fructose-6-phosphate to produce L-glutamate and D-glucosamine-6-phosphate. hGFAT1 is not commercially available and is difficult to obtain from natural sources. Thus, a recombinant method to generate and purify the enzyme was developed and is discussed herein.</p> <p>There are only a handful of known inhibitors available to study the enzyme and the majority of these are toxic, non-specific, or substrate analogs. A high-throughput screening campaign was undertaken in pursuit of novel hGFAT1 inhibitors. The bioactive subset of the Canadian Compound Collection was assayed in duplicate for GFAT inhibitory activity using a modified version of the Morgan-Elson assay. Out of the 3950 bioactives, 9 were identified as lead compounds. All of the compounds identified from the bioactive collection are novel GFAT inhibitors.</p> <p>A structure-activity relationship (SAR) analysis was performed on the lead compounds. Derivatives of the leads were also purchased or synthesized for inhibitory testing. Four distinct classes of compounds were identified as GFAT inhibitors: isoquinolines, aminothiazoles, pyridinones and quinones. The most potent lead compound elucidated from the SAR was dehydroiso-β-lapachone (IC₅₀ 1.5±0.5 µM). The mode of inhibition of dehydroiso-β-lapachone was determined to be non-competitive for both binding domains of recombinant hGFAT1.</p> <p>To validate the lead compounds as inhibitors of native hGFAT1 and to determine their cell permeability, a cell based assay was developed. HepG2 cell cultures were treated with an inhibitor and HBP metabolism was determined by measuring the levels of the end-product uridine diphosphate <em>N</em>-acetylglucosamine (UDP-GlcNAc). UDP-GlcNAc was separated and detected by UPLC-ESI-TOF-MS and metabolite levels were normalized to cell concentration. The leads, alloxan, lapachol and amrinone all displayed hGFAT1 inhibition in cell culture.</p> / Doctor of Philosophy (PhD)

En nous appuyant sur un corpus composé de Silo de Hugh Howey, de la série Divergent de Veronica Roth et finalement de la série The 100 de Morgan Kass, nous analyserons la reconstruction d’une société après l’impact d’un cataclysme ayant de nombreuses conséquences : la chute d’un monde tel que connu jusqu’alors, l’isolation, la perte de structures et la décimation de la majorité de la population. Les œuvres choisies mettent en scène des sociétés déjà reconstruites, où l’apocalypse s’est produite il y a plusieurs générations. Les choix de sociétés mises en place devient alors significatif d’une volonté de mettre de l’avant un certain type de réorganisation postérieure au cataclysme. Nous nous intéresserons donc à cette reconstruction en observant d’abord les éléments qui indiquent ce qu’était la vie sur Terre avant l’apocalypse ; l’apparence et l’état de la Terre avant la catastrophe, mais aussi le type de sociétés établies dans ce monde futuriste. Nous analyserons également le choix des catastrophes en nous questionnant sur les causes et les impacts des cataclysmes choisis (attaque nucléaire, arme biologique, bombardements, etc.). Par la suite, nous nous attarderons à l’instauration et au fonctionnement des sociétés établies dans les différents domaines (politique, économique, judiciaire). Dans notre dernier chapitre, nous nous questionnerons sur les sources de conflits qui viennent troubler le statu quo traduit par l’immobilisme de la société, notamment en ce qui a trait aux événements entourant l’apocalypse (par exemple, les causes du cataclysme sont souvent gardées sous silence par les dirigeants). Finalement, nous interpréterons les thèmes récurrents que partagent les œuvres du corpus.

Ce travail tente d’établir, à partir de la pensée et de la vision que développe Edouard Glissant dans ses essais, une nouvelle approche, ou du moins une approche différente de la littérature comparée. Cette approche a pour fondement les concepts clés tels que le chaos-monde, le tout-monde, la créolisation et l’opacité. La relation surgit de ce que Glissant nomme le chaos-monde, cette rencontre, ce choc de cultures toujours à l’oeuvre dans notre monde. Cette confrontation, ce contact avec l’autre ne peut que produire de la relation. Nous vivons depuis toujours, et aujourd’hui bien plus que jamais, dans un espace pluriel caractérisé par la participation-confrontation, selon des modes variés, hétérogènes, voire conflictuels, de multiples cultures; quand bien même nous n’aurions jamais vu ces autres peuples, le fait d’avoir connaissance de leur existence contraint toujours déjà et nécessairement à l’instauration d’une relation. Cette relation, qui, chez Glissant, est avant tout à l’oeuvre dans le monde des hommes, comporte tous les éléments d’une approche comparatiste en littérature : mettre en relation des ouvrages différents mais néanmoins équivalents, analyser un ouvrage en gardant à l’esprit la multiplicité d’oeuvres existantes, comparer tout en respectant les différences propres à chaque oeuvre, telle est, semble-t-il, la tâche du comparatiste. Il s’agit, à partir du chaos-monde perçu comme confrontation de tous les ouvrages de notre corpus, de révéler une relation au sens glissantien du terme. Les termes de déclinaisons, inclinations et déclins nous engagent dans la description des trajets de lectures en montrant autant les capacités que les limites de cette approche. / Building on the theory developed by Edouard Glissant in his essays, this work attempts to draw up a different approach for the analysis of compared literature. This method is based on the key concepts developed by Glissant. All relationships are the offsprings of what Glissant calls the chaos-world, which is this encounter, this clash of cultures constantly at work in our world. This confrontation with the other cannot but give rise to relationship. Since time immemorial, we’ve been living and today we, more than ever, live in a plural setting, the defining characteristic of which is the cooperation and confrontation of multiple cultures on varied, heterogeneous and even conflictual modes; even if we have not seen these people who are so different and come into direct contact with their cultures as such, the very fact that we know of their existence always compels us to start some kind of relationship. In the works of Glissant, this relationship, which is at work in the world of human beings, comprises all the required elements for a comparative approach in the field of literature. Indeed, it would seem that the task of the comparatist consists in bringing together different but comparable works, in analyzing a piece of work while having in mind the multiplicity of works existing at the same time, and in comparing everything whilst respecting the differences exclusive to each work. Starting from the chaos-world perceived as a confrontation between all the works of our corpus, the whole point for us is to lay bare a relationship the way Glissant understands it. The concepts of declension, inclination and decline commit us to a description of reading journeys during which we show the scope as well as the limitations of this approach.

The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.

Wong Nga-lai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 108-112). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.ii-v / Introduction / Homosexuality: a sin versus a choice --- p.1 -5 / Chapter Chapter One --- Wilde and his sacrifices --- p.6 -38 / Chapter Chapter Two --- Forster and his private novel --- p.39 -70 / Chapter Chapter Three --- Rechy and his new order --- p.71-104 / Conclusion / Still a long way to go --- p.105 -107 / Selected Bibliography --- p.108-112