[pt] Esta pesquisa analisa a possível alusão a Gn 3,7 (LXX) na expressão abriram-se os seus olhos, utilizada por Lucas em Lc 24,31, no episódio dos discípulos de Emaús. A partir dessa referência, o texto lucano desponta como um epílogo ao relato da queda original: no Éden os olhos de Adão e Eva se abriram de modo impróprio, e por sua desobediência constataram sua nudez; em Emaús, ao contrário, os olhos dos discípulos se abriram da maneira certa, e reconheceram o Senhor ressuscitado. Destaca-se a semelhança entre o estado de desânimo dos primeiros pais, ao fim do relato da queda, e dos discípulos de Emaús no início do episódio. Ressalta-se também a importância da iniciativa dos discípulos de convidar Jesus a permanecer, não apenas pela hospitalidade, mas a fim de desfazer a esquiva dos primeiros pais, que se esconderam de Deus em razão de seu pecado. Por fim, a referida aproximação reforça a teoria de que a companhia de Cléofas fosse sua própria esposa, formando um casal. / [en] This research seeks to analyze the possible allusion to Gen 3,7 (LXX) in the expression their eyes were opened, used by Luke in Lk 24,31, in the episode of the disciples of Emmaus. Based on this reference, the Lucan text emerges as an epilogue to the account of the original fall: in Eden the eyes of Adam and Eve were improperly opened, and due to their disobedience they found their nakedness; in Emmaus, on the contrary, the disciples eyes were opened in the right way, and they recognized the risen Lord. The similarity between the state of dismay of the first parents, at the end of the account of the fall, and that of the disciples of Emmaus at the beginning of the episode stands out. The importance of the disciples initiative to invite Jesus to stay is also highlighted, not only for hospitality, but in order to undo the dodge of the first parents, who hid from God because of their sin. Finally, the aforementioned approximation reinforces the theory that Clophas company was his own wife, forming a couple.

Despite contemporary movements towards tolerance and appreciation of differing cultural entities within the United States, the normative standard of beauty serves as a pinnacle of division amongst women. The normative standard of beauty—implemented by the dominant race within the States—encourages discrimination in regards to the perception of African American female beauty. Although information exists identifying the original influence pertaining to the negative perception of African American female beauty, the reason for its continued perpetuation within the African American community remains ill defined. Effects of this standard amongst African Americans are psychological and physiological. The destruction of self-image and appreciation for natural features by African American Women occur as a result. The influence of this standard extends to individuals outside of the African American community also and in turn impact their perception of African American aesthetics. Scholarly and Literary writers have chosen to comment on this topic. Some dissect the features that constitute to the considered level of attractiveness attributed of African American women. As these writers explore the realm aesthetic perception, discriminatory tendencies amongst those from the dominant race as well as the marginalized group—in this case African Americans—are revealed. Theories offering explanations in regards to the perpetuation of negative perceptions of African American female beauty arise.

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Denna essä reflekterar kring existentiella teman så som ångest, kroppsliga förnimmelser, hälsa och samhälle. Den är skriven i en experimentell och poetisk form, som en vindlande tankeström, tätt sammanvävd med en av författarens egna dikter "något har fastnat" (från 2024). Genom att blanda samman en diskussion om språkets begränsningar och möjligheter, med en berättelse om ett personligt möte med sjukvården (i samband med en utredning för stressad urinblåsa), och ett utforskande av de komplexa begreppen rädsla och tro, bjuds läsaren in att fundera över existensens mysterier och den svårfångade jakten på mening. Texten är fullproppad med symbolik och märkliga dubbelmeningar; urinen som flödar in och ut, guldet som glittrar och solen som skiner, sjunker och stiger, omgiven av en mängd obegripliga punkter, eller är det ögon? Ständigt blickande, dömande och längtande, samtidigt som den dyker ner det intrikata trasselet av osäkerhet och kampen för att finna... en utgångspunkt eller kanske en mittpunkt, eller bara någon punkt överhuvudtaget mitt i livets kaos. Texten utforskar en värld där den rationaliserade ordningen och de effektiva systemen tycks hota det obskyra och abstrakta, men där kreativiteten och reflektionens kraft fortfarande har en ständigt växande dragningskraft och kämpar för att få andas. / This essay presents a reflective exploration of existential themes, such as anxiety, bodily experiences, health and society. It is written in an experimental stream-of-consciousness shaped narrative, woven together with one of the author’s own poems ”something is stuck” (from 2024). Mixing up a discussion about the limitations and possibilities of language with a story about a personal encountering with the healthcare system (regarding a stressed bladder), and the complex concepts of fear and faith, it invites readers to ponder the mysteries of existence and an elusive pursuit of meaning. The text is crammed with symbolism and curious double meanings; the urine flows, in and out, the gold that glitters and the sun is shining, sinking and rising, surrounded by a multitude of incomprehensible points, or is it the eyes? Constantly looking, judging and longing, as it delves into the intricate tangles of uncertainty and the struggle to find… a starting point or perhaps a center point, or just any point at all amidst the chaos of life. The text explores a world where the rationalized order and efficient systems seems to be threatening the obscure and abstract, but where creativity and the power of reflection still processes an ever growing attraction, fighting for space to breathe.

Modernists have expressed their views on literature in various ways. Ford Madox Ford’s Ladies Whose Bright Eyes seemingly participates in a discussion regarding the value of imagination in contrast to reason. This thesis argues that Ford Madox Ford’s Ladies Whose Bright Eyes (1911, revised 1935) represents the imagination in ways that suggest that the value of the imagination is greater than the value of reason in order to show the transformative power of literature. The novel’s treatment of the imagination has didactic implications for teaching literary interpretation and for fostering a joy of reading. The present thesis aims to explore how the novel treats the imagination by connecting the novel to modernist discussions of the imagination in Wallace Stevens’ “Imagination as Value” (1951) and Stevens’ “The Irrational Element in Poetry” (1936) as well as to Ford’s essay on literary impressionism “On Impressionism” (1914). The thesis expands upon Max Saunders’ argument that the protagonist, Sorrell, is transformed into a man of imagination. The literary analysis is structured around Sorrell’s transformation, from a rational man living in blissful ignorance of the world of imagination to a man of imagination instructed by Dionissia on living with the imagination in the rational world, through faith. A joy of reading and autonomous reading motivation can be fostered by providing students with choice, cognitively challenging tasks related to commenting on and analysing the novel, and by training students to use quotes via the use of reading logs. The novel’s indirect treatment of the imagination suggests the transformative power of literature, which makes fostering a joy of reading seem all the more important as it may provide students with a gift that will last long after their school years are over.

Indiana University-Purdue University Indianapolis (IUPUI) / DNA phenotyping is a rapidly developing area of research in forensic biology. Externally visible characteristics (EVCs) can be determined based on genotype data, specifically from single nucleotide polymorphisms (SNPs). These SNPs are chosen based on their association with genes related to the phenotypic expression of interest, with known examples in eye, hair, and skin color traits. DNA phenotyping has forensic importance when unknown biological samples at a crime scene do not result in a criminal database hit; a phenotype profile of the sample can therefore be used to develop investigational leads. IrisPlex, an eye color prediction assay, has previously shown high prediction rates for blue and brown eye color in a European population. The objective of this work was to evaluate its utility in a North American population. We evaluated the six SNPs included in the IrisPlex assay in an admixed population sample collected from a U.S.A. college campus. We used a quantitative method of eye color classification based on (RGB) color components of digital photographs of the eye taken from each study volunteer and placed in one of three eye color categories: brown, intermediate, and blue. Objective color classification was shown to correlate with basic human visual determination making it a feasible option for use in future prediction assay development. In the original IrisPlex study with the Dutch samples, they correct prediction rates achieved were 91.6% for blue eye color and 87.5% for brown eye color. No intermediate eyes were tested. Using these samples and various models, the maximum prediction accuracies of the IrisPlex system achieved was 93% and 33% correct brown and blue eye color predictions, respectively, and 11% for intermediate eye colors. The differences in prediction accuracies is attributed to the genetic differences in allele frequencies within the sample populations tested. Future developments should include incorporation of additional informative SNPs, specifically related to the intermediate eye color, and we recommend the use of a Bayesian approach as a prediction model as likelihood ratios can be determined for reporting purposes.

This study focuses on the novels of Quicksand by Nella Larsen and Invisible Man by Ralph Ellison to explore the phenomenon of poqéakh (פֹּקֵחַ) through the fictionalized lived experiences of their protagonists, Helga Crane and invisible man. Each novelist’s representation of poqéakh offers a portrait of the protagonists’ psyches. The narratives reveal an unsettling truth for the protagonists, who are members of a population often targeted, stigmatized, and fashioned or re-fashioned by Americans and various environs in American society, that they must assimilate—not only their bodies, but their psyches too to fit the “white man’s pattern” (Larsen 4). Their realities inform them that non-conformity and/or developing or utilizing their intellect is disadvantageous—perceiving is unfavorable. Each protagonist learns that she and he will not only be limited by their imaginations or abilities, but also by persons and constructs within American society keeping them witless and amenable. The environs presented in forms such as schools, jobs, even people who prepare each protagonist to accept all and any disparity (inequality and inequity), they are made to be persistently and surreptitiously instructive. As such, these environs are always educating (or training), always molding the psyches of the protagonists to live within a frame—the construct (American society). These ever informing boundaries thoroughly acquaint each protagonist on “how to scale down [their] desires and dreams so that they will come within reach of possibility” (Thurman 115). Poqéakh leads Helga Crane to perceive the boundaries while it prevents the invisible man from returning to unblissful ignorance, thus, for him, providing momentary periods of lucidity. This study utilizes a qualitative research design and method, and relies on phenomenological theory to successfully analyze the novels and explicate on the representations of poqéakh. As this study will illustrate, Larsen and Ellison offer as representative via their novels two narratives of the diasporic psyche (mind), wherein their protagonists’ experiences of poqéakh lead to some unmitigated facts and disturbing truths about their reality.

I began this project with the question of how today's social justice activists might find a useable history in a massively influential text like Eyes on the Prize. Thus, the broad question that motivated this rhetorical inquiry was: what means are available to people interested in social change, but whose access to the resources to influence society is limited? One important resource that oppressed peoples can lay claim to is a shared sense of the past. Through a critical analysis of Eyes on the Prize, this dissertation examines shared memory as a resource for rhetorical production. I am interested not only in how the past is re-presented in the documentary, but also what resources the documentary provides its audience to consider and take action for social change. The films present memories that complicate or run counter to the dominant narrative of the black freedom struggle and thereby make available a reservoir of rhetoric power for a political present. My analysis suggests that Eyes on the Prize does not contradict public memory's dominant values of the black freedom struggle, but it does resist their blind adherence. The documentary does not force viewers to take sides on divisive issues like separation/integration or violence/nonviolence. Instead it allows them to realize that these concepts are dialectical. These are, in my estimation, productive tensions. Eyes on the Prize is an excellent pedagogical tool for producing citizen activists. Although activism gives way to electoralism by the end of the documentary, activism is portrayed positively in the documentary. There are certainly costs to activism, as some activists experienced in the most extreme way. However, the heroes of Eyes on the Prize are certainly the activists. In an analysis of a text's rhetorical potential, it is also necessary to acknowledge how the text limits rhetorical possibility. Significantly, Eyes on the Prize inadequately addresses the importance of class in the black freedom struggle. The lacuna of class in the documentary neglects fundamental changes in the goals and tactics of the black freedom struggle and limits the material and psychological structures that maintain racism. / text

The process of metaphrasis denotes the translation of a work of art from one medium into another. Opera is fundamentally an adaptive art form and contemporary opera has increasingly turned to the novel as the sophistication and range of the resources of modem music theatre have expanded. This dissertation will examine the contemporary operatic adaptation of five works of fiction. The method employed is a comparison of fictional and operatic discourse and an analysis of the translation of fictional narrative into operatic narrative. Emily Bronte's Wuthering Heights poses particular narrative problems for operatic adaption while Herman Melville's Billy Budd is characterised by its intrusive narrator and a pervasive ambiguity. Joseph Conrad's novel, Under Western Eyes, exemplifies many of the narratological complexities of modernism, whereas Patrick White's Voss, a seminal postcolonial text, offers the operatic adaptor opportunities for the transcendence of language through music. The final chapter of this study will examine Henry James's tale, liThe Aspern Papers II , which incorporates many of James's reflections on literature and the literary life. The postmodernist operatic adaptation transmutes this self-reflexive fictional work into an opera profoundly concerned with the ontology of opera itself. This study will test the thesis that opera's affinity lies with the novel rather than with drama: that the fundamental narrative mode of opera is diegetic rather than mimetic. The main theoretic thrust proposes that the orchestra in opera performs a similar function to the narrator in fiction. As fictional characters exist only through the medium of their 'text' therefore, it will be argued, operatic characters exist only as part of their 'musical' text. Fictional narrative, while frequently conveying the impression of mimesis is essentially diegetic; operatic characters appear to possess a similar autonomy to their counterparts in drama, but can be seen as analogous to those in fiction and as a function of the diegesis of operatic narrative. Operatic characters are 'created' by the orchestral-narrator and have their being only as part of this narrative act. / Thesis (Ph.D.)-University of Natal, Durban, 1994.