Made available in DSpace on 2016-07-27T13:47:57Z (GMT). No. of bitstreams: 1 Elias Mayer Vergara.pdf: 1579647 bytes, checksum: f936462ff4df46e87fe2ac082592fe0e (MD5) Previous issue date: 2005-02-28 / Genesis 3 will be approached here as a Hebrew myth and will serve as a case study in which we seek to show that psychoanalysis offers a different view in the understanding of the polysemy that exists in myths. According to anthropology and psychology, myths carry the human archetypes. These are couched in symbolic language and open up the polysemy of the myths. In the myth of Genesis 3, sin and the fall are significants resultant from a monosemic hermeneutic that has dogmatically legitimated the existence of the priest and of the church. The symbolic element of the serpent representative of a divinity competes with the divinity Yahweh through a transgressive project which is victorious and liberates the human beings to go beyond the garden. It is outside of this logic that the first sexual relationship between Adam and Eve occurs. In this way they have the pleasure of completing each other and becoming creative Gods. In a new focus derived from a polissemic reading, Eve s transgression can supply the archetypal energy necessary for a prophetic vocation awakening the heroic self that exists in all mankind. It is in the interval between great powers that the human being exercises freedom and makes himself divine. / Gênesis 3 será tomado, aqui, como um mito hebraico que servirá para uma análise de caso, onde se busca comprovar que a psicanálise tem um olhar diferenciado para entender a polissemia existente nos mitos. Os mitos, segundo o que é aceito pela antropologia e psicologia, carregam consigo os arquétipos humanos, que, configurados por uma linguagem simbólica, abrem a sua polissemia. No mito de Gênesis 3, pecado e queda são significados resultantes de uma hermenêutica monossêmica, que tem legitimado dogmaticamente a existência do sacerdote e da Igreja que o sustenta. O elemento simbólico serpente , representativo de uma divindade, compete com a divindade Iahweh, através de um projeto transgressor, que, vitorioso, liberta os seres humanos para além do jardim. É fora desta lógica que ocorre a primeira relação sexual entre Adão e Eva, que assim degustam o prazer de se completarem, tornando-se assim também Deuses criadores. A transgressão, novo foco de sentido encontrado pela leitura polissêmica, pode fornecer a energia arquetípica necessária para a vocação profética, e para despertar o ser heróico que habita em todos os humanos. É no intervalo entre os grandes poderes que o ser humano exercita a liberdade e diviniza o seu ser.

Made available in DSpace on 2016-04-28T14:16:39Z (GMT). No. of bitstreams: 1 Sonia Regina Tonetto.pdf: 626804 bytes, checksum: c63e9e43e4f66f52141b6a21a0d3e6ce (MD5) Previous issue date: 2009-05-13 / Secretaria da Educação do Estado de São Paulo / The object of analysis of this study is the first biography of Madame Curie, written by her daughter Eve Curie. This book portrays the historical period, family life and the rise of the professional scientist. The first chapter reviews the author's intent in building the image of the biographied. The expressions used, the chosen facts to be portrayed. The selected correspondence is also analyzed as part of building of this image. In the second chapter, the works of Eulália Sedeño Peres and Margaret W. Rossiter are used as reference to analyze both, the path followed by the scientist and her strategies. The attitudes and reactions of Mme. Curie, facing different situations and in different periods are analyzed in the scientist's correspondence with family and friends and other events in the life of the scientist that don t appear in the biography written by her daughter. The third chapter discusses the work of the scientist in the laboratory. The working conditions, the equipment developed by Pierre Curie, some factors that led the scientist to focus her studies on radioactive materials and the consequences of that choice. Moreover, facts reported are discussed in biography written by Eve Curie and others that were missing and could blacken her image. Thus, the analysis of the biography written by Eve Curie, other biographies and subsequent studies carried on the work of Mme Curie, show the importance of the biography for the History of the Science and the intent of the biographer to write about the history of a scientist / O objeto de análise deste estudo é a primeira biografia sobre Mme Curie, escrita por sua filha Eve Curie. Esta obra retrata o período histórico, a vida familiar e a ascensão profissional da cientista. No primeiro capítulo é analisada a intencionalidade da autora na construção da imagem da biografada. As expressões utilizadas, os fatos escolhidos para serem retratados. A correspondência selecionada também é analisada como parte da construção dessa imagem. No segundo capítulo as obras de Eulália Peres Sedeño e Margaret W. Rossiter são utilizadas como referência para analisar tanto o caminho seguido pela cientista quanto suas estratégias. As atitudes e reações de Mme. Curie, diante de diferentes situações e em diversos períodos, são analisados nas correspondências da cientista com familiares e amigos, além de outros fatos ocorridos na vida da cientista e que não aparecem na biografia escrita por sua filha. O terceiro capítulo aborda o trabalho da cientista no laboratório. As condições de trabalho, os equipamentos desenvolvidos por Pierre Curie. Alguns fatores que levaram a cientista a focalizar seus estudos nos materiais radioativos e as conseqüências dessa escolha. Além disso, são discutidos fatos relatados na biografia escrita por Eve Curie e outros que foram omitidos e poderiam denegrir sua imagem. Dessa forma, a análise da biografia escrita por Eve Curie, de outras biografias posteriores e dos estudos desenvolvidos sobre o trabalho de Mme Curie, mostrará a importância da biografia para a História da Ciência, além de pontuar a intencionalidade do biógrafo ao escrever sobre a história de um cientista

This is a Masters student Final Dissertation / In this project, two tests were performed. On the first test, Mininet-WiFi was used to simulate a Software Defined Network to demonstrate Mininet-WiFi’ s ability to be used as the Software Defined Network emulator which can also be integrated to the existing network using a Network Virtualized Function (NVF). A typical organization’s computer network was simulated which consisted of a website hosted on the LAMP (Linux, Apache, MySQL, PHP) virtual machine, and an F5 application delivery controller (ADC) which provided load balancing of requests sent to the web applications. A website page request was sent from the virtual stations inside Mininet-WiFi. The request was received by the application delivery controller, which then used round robin technique to send the request to one of the web servers on the LAMP virtual machine. The web server then returned the requested website to the requesting virtual stations using the simulated virtual network. The significance of these results is that it presents Mininet-WiFi as an emulator, which can be integrated into a real programmable networking environment offering a portable, cost effective and easily deployable testing network, which can be run on a single computer. These results are also beneficial to modern network deployments as the live network devices can also communicate with the testing environment for the data center, cloud and mobile provides. On the second test, a Software Defined Network was created in Mininet using python script. An external interface was added to enable communication with the network outside of Mininet. The amazon web services elastic computing cloud was used to host an OpenDaylight controller. This controller is used as a control plane device for the virtual switch within Mininet. In order to test the network, a webserver hosted on the Emulated Virtual Environment – Next Generation (EVENG) software is connected to Mininet. EVE-NG is the Emulated Virtual Environment for networking. It provides tools to be able to model virtual devices and interconnect them with other virtual or physical devices. The OpenDaylight controller was able to create the flows to facilitate communication between the hosts in Mininet and the webserver in the real-life network / The University of South Africa The University of Johannesburg / College of Engineering, Science and Technology

This thesis is a queer masculinity reading of Sir Arthur Conan Doyle’s short story collection The Memoirs of Sherlock Holmes (1894). The analysis focuses on the dissonances, tensions and queerness that reside within the text itself. This has been done from my problem statement: How is Sherlock Holmes and John Watson’s sexuality and masculinity portrayed within the boundary of the text? What is being said, what is hidden, and what is dealt with silently? To reveal these queer parts this analysis has been focused around five themes: the late Victorian male, the Woman, countertypes and decadence, the homosocial sphere and sexuality. The thesis has two major theoretical perspectives: masculinity theory, and queer theory. For the masculine analysis I have used Jørgen Lorentzen and Claes Ekenstam’s concept of manly/unmanly, character, and the citizen from the book Män i Norden: Manlighet och modernitet 1840-1940 and George L. Mosse’s countertype. For the queer theoretical I have used a queer resistant reading combined with Eve Kosofsky Sedgwick’s concept of homosexual panic, and Judith Butler’s gender melancholia. Professor Joseph A. Kestner’s Sherlock’s Men has guided the reading of the short story collection. This thesis aims at showing that the improbable might well reside within the text, not least in the relationship between the two main characters Holmes and Watson. At first glimpse this world of Holmes’s seems devoid of desire, but in a closer reading cracks appear. There are silences, and unnecessary explanations, which have little to do with the adventures themselves, not to mention silent looks, and the association with the domestic. These threaten to effeminize their masculinity, especially Holmes who is a bachelor and suffers from repeated nervousness. Disease of the nerves was associated with effeminacy and homosexuality during the Victorian era. Also, the relationship between Holmes and Watson do at times parody the heterosexual. It’s hard however to find any conclusive evidence of any sexuality in the text, least of all homoerotic, which is hardly surprising considering the forbidding laws that were in place.

This dissertation explores the reoccurrence of Mary Shelley’s Frankenstein within twentieth-century American novels. While the inaccurate 1931 film version by James Whale remains the best known adaptation of Frankenstein, I argue that Willa Cather, Ralph Ellison, Toni Morrison, and Chuck Palahniuk return to Shelley’s 1818 novel to critique racist and misogynistic responses to anxieties about gender and racial power in the age of industrial consumer culture. In doing so, I extend existing scholarship on the American Gothic to demonstrate that The Professor’s House, Invisible Man, Beloved, and Fight Club represent a specifically Shelleyan Gothic tradition in twentieth-century American literature. My project draws upon influential feminist and postcolonial readings of Frankenstein and on the theoretical work of Eve Kosofsky Sedgwick and later critics who have developed her theory to show how the twentieth-century novels echo themes and motifs from Shelley’s novel to critique the destructive effects of male homosociality. Each novel contains a protagonist that resembles Victor Frankenstein and responds to historically specific anxieties about gender, race, and industrial technoscience by creating a doppelgänger who enables participation in a homosocial bond that is initially empowering but proves destructive to women, racial minorities, and eventually the creature and creator figures themselves. My reading reveals unexpected similarities between Cather’s The Professor’s House and Palahniuk’s Fight Club. Cather’s novel appears to glorify Tom Outland as the ideal masculine hero but ultimately reveals him to be a monstrous doppelgänger who acts out the Professor’s oppressive impulses; similarly, Fight Club seems to romanticize the male violence instigated by the doppelgänger figure Tyler Durden but actually echoes Shelley’s critique of male homosociality as monstrous. My reading also reveals previously overlooked similarities between Invisible Man and Beloved, both of which feature a black protagonist who surprisingly resembles Victor Frankenstein by creating a doppelgänger to challenge his or her disempowerment by the structures of white male homosociality but end up emulating the destructive homosocial structures they critique. My dissertation shows how all of these writers share Shelley’s critique yet move beyond it by offering alternatives to the destructive cycle of violence, embodied in each case by a female figure who resists or reclaims the position of the abject other in the homosocial triangle.

While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.

This dissertation examines the nature of epiphanic discourse in three of Robert Browning's religious poems, namely, 'Christmas- Eve', 'Easter-bay' and 'La Saisiaz'. Chapter 1 investigates epiphany from religious, historical and theoretical perspectives, followed by a discussion of Browning's developing Christian beliefs. Chapters 2 and 3 explore the epiphanic moment in the companion poems, 'Christmas- Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany initiated from Browning's personal experience recounted in 'La Saisiaz', finds its resolution in 'The Two Poets of Croisic'. Browning's 'good minute' or 'infinite moment' originates in Romanticism and reverberates into the twentieth century mainly in the writing of James Joyce, who first used the word 'epiphany' in its literary sense. Because Browning's faith allowed continual interrogation of Christian doctrine, his experience and reading of epiphanic moments avoid any attempt at closure. Thus they offer the reader both a human image for recognition and a coded legend for individual interpretation / M.A. (English Studies) / M.A. (English)

Ambitionen och målet med mitt projekt var att visualisera delar av en berättelse med hjälp av den senaste datortekniken. Detta tog sin form av en 3d-animation. Målet var inte att producera en färdig kortfilm utan att arbeta med utvalda delar. Projektet var indelat i tre block; en planerings- och researchfas, en produktionsfas och en reflektionsfas. Stora delar av magisterarbetet har bestått av att producera innehåll som sedan ska analyseras. Med arbetet vill jag att folk ska få mer förståelse för 3d-tekniken som ett flexibelt och intressant konstverktyg. I denna reflektion som är beroende av produktresultatet försöker jag i ord beskriva den tekniska och estetiska vägen från koncept till produktion. För att få förståelse för mina resonemang i denna reflektion kommer jag att använda mig av bilder från min produktion. Resultatet av magistern är en del av en arbetsprocess som kan analyseras och reflekteras. Med projektet har jag lärt mig att 3d inte är ett likriktat grafiskt verktyg utan en fascinerande konstform som är mer flexibel och personlig än vad man kan tro. Jag har funderat mycket kring det konstnärliga värdet i det jag har skapat och funderat mycket kring vad digital konst egentligen är och hur jag ser på det. / Detta är en reflektionsdel till en digital medieproduktion. cload@evilemail.com www.cloaddust.com

The Sound and the Fury is William Faulkner’s story of the Compson family’s downfall in the American South during the early 20th century. The novel illustrates the impact on the cultural identity of the South of strictly defined social roles and the tension they created in the aftermath of slavery and defeat in the Civil War. In my analysis, I have chosen to focus on gender issues, especially in their Southern manifestation. The Compsons’ daughter, Caddy, figures prominently in the sons’ narratives, but is only portrayed through their perceptions and memories. My aim is to determine Caddy’s significance in the novel by exploring her relationships with her brothers, as seen through their eyes, and how she is characterized by them. In Benjy’s narrative, I examine her actions as a little girl in light of the Eve myth and the icon of the virgin mother. Quentin’s obsession with Caddy's sexuality as a teenager reveals the implications of associating female sexuality with death, the role of language in reproducing and combating established gender power structures, and the impact of traditional gender roles on women and men. Jason’s binary categorization of women as virgins or whores turns the few glimpses of Caddy as a mother into that of a woman treated as a commodity of exchange. In each of their narratives, Caddy is a dynamic character whose words, body, and actions expose prevailing social and gender power struggles. By conjuring her presence through her absence, her brothers reveal the depth and destructiveness of the social imperatives that underlie their attempts to control her. I suggest that Caddy’s role in the novel is to disrupt the brothers’ narratives and challenge the underlying Southern social and gender constructs that imbue them.

This dissertation explores the reoccurrence of Mary Shelley’s Frankenstein within twentieth-century American novels. While the inaccurate 1931 film version by James Whale remains the best known adaptation of Frankenstein, I argue that Willa Cather, Ralph Ellison, Toni Morrison, and Chuck Palahniuk return to Shelley’s 1818 novel to critique racist and misogynistic responses to anxieties about gender and racial power in the age of industrial consumer culture. In doing so, I extend existing scholarship on the American Gothic to demonstrate that The Professor’s House, Invisible Man, Beloved, and Fight Club represent a specifically Shelleyan Gothic tradition in twentieth-century American literature. My project draws upon influential feminist and postcolonial readings of Frankenstein and on the theoretical work of Eve Kosofsky Sedgwick and later critics who have developed her theory to show how the twentieth-century novels echo themes and motifs from Shelley’s novel to critique the destructive effects of male homosociality. Each novel contains a protagonist that resembles Victor Frankenstein and responds to historically specific anxieties about gender, race, and industrial technoscience by creating a doppelgänger who enables participation in a homosocial bond that is initially empowering but proves destructive to women, racial minorities, and eventually the creature and creator figures themselves. My reading reveals unexpected similarities between Cather’s The Professor’s House and Palahniuk’s Fight Club. Cather’s novel appears to glorify Tom Outland as the ideal masculine hero but ultimately reveals him to be a monstrous doppelgänger who acts out the Professor’s oppressive impulses; similarly, Fight Club seems to romanticize the male violence instigated by the doppelgänger figure Tyler Durden but actually echoes Shelley’s critique of male homosociality as monstrous. My reading also reveals previously overlooked similarities between Invisible Man and Beloved, both of which feature a black protagonist who surprisingly resembles Victor Frankenstein by creating a doppelgänger to challenge his or her disempowerment by the structures of white male homosociality but end up emulating the destructive homosocial structures they critique. My dissertation shows how all of these writers share Shelley’s critique yet move beyond it by offering alternatives to the destructive cycle of violence, embodied in each case by a female figure who resists or reclaims the position of the abject other in the homosocial triangle.