This dissertation defines "modular-objective coupling", and shows that programming language designs which imply reduced modular-objective coupling reduce complexity of remodularizations--behaviour-preserving restructurings for which the only intended goals are to change program source code structure. We explicitly distinguish between two points of view on program structure: modular structure--the structure of a program as a set of static text documents, and objective structure--the structure of a program as a dynamic computational model during execution. We define modular-objective coupling as the degree to which changes in modular structure imply changes to objective structure, for a given programming language. We use the term remodularization to refer to any behaviour-preserving source code restructuring, for which the only intended goal is to change modular structure. We argue that programming languages with strong modular-objective coupling introduce accidental complexity into remodularizations, by requiring complex objective structure changes to achieve intended modular structure changes. Our claim is that a programming language design which implies reduced modular-objective coupling reduces remodularization complexity in the language. To validate this claim, we first present SubjectJ, a subject-oriented programming system that extends Java. The design of Java implies strong modular-objective coupling, while SubjectJ is designed for reduced modular-objective coupling. We then perform a series of remodularization case studies comparing Java and SubjectJ. Our results suggest that remodularizations are less complex in SubjectJ.

The use of the Internet has increased exponentially over the last decade. Individuals across all continents are progressively engaging in cyberspace interactions at work, in education, and for leisure. These online interactions, unconstrained by the limitations of corporeal reality, offer the potential for unique presentations of the self. The general aim of the research described in this thesis was to examine self-presentation in cyberspace. The research focused on MOOs, multi-user, text-based, user-extensible online environments, as a likely site for identity experimentation and play in cyberspace. Two studies are described. In the first quantitative study, 75 university students logged on to the front page of a social MOO where they selected a screen name, chose their gender, and provided a character description. As hypothesised, self-presentations were more likely to be based on actual identity rather than hoped for or feared selves. Contrary to expectation, little evidence was found of gender play. Self-presentations were typically positively biased and results suggested that players also perceived themselves more positively in the online context. Although sex and age were generally unrelated to self-presentation strategies, previous online experience, ethnicity, and personality profiles helped to explain self-presentation behaviour. / A qualitative study of a further 20 students in an educational MOO explored players understanding of their initial self-presentational choices and their management of these self-presentations over a 12-week period. Findings from the second study were consistent with the results from the first quantitative study and confirmed a strong desire for authentic self-presentation. Despite this emphasis on authenticity, the intention to play with identity was manifest in the form of selective self-disclosure, fantasy play, and exaggeration of traits. Participants also reported behaving in less inhibited ways online. A low incidence of gender play was noted. The overt identity play assumed by the cyberspace literature was not found in either study. Rather self-presentation in the online context appears to be governed by essentially similar processes to those that shape self-presentation in the offline world. The implications of the findings for teaching and learning, particularly for educators who want to use MOOs for identity experimentation, are discussed.

Diss. Uppsala : Sveriges lantbruksuniv., 2000. / Även utg. som: Skogs- och lantbrukshistoriska meddelanden ; 23.

Diss. Linköping : Linköpings universitet, 2006.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniversitet, 2006. / Härtill 5 uppsatser.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniv., 2006. / Härtill 4 uppsatser.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniversitet, 2006. / Härtill 5 uppsatser.

Made available in DSpace on 2015-05-14T12:52:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8655195 bytes, checksum: e18c7189642cacbd2b5501c038c3e426 (MD5) Previous issue date: 2013-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With a large musical production that carries out different musical formations, the group JAGUARIBE CARNE has a diversified repertoire whose performances are mainly focused in social matters of the urban life. The songs contemplate different musical esthetic, in which they search to call special attention in order to try a critical musical experience on emergent questions of the society and the cultural politics. In musical terms, the group produces a sonority or noise that searches the different, the unexpected, the provocation, that is, it has to do with a musical style that runs away from the recurrent midiatic standards. This work aims to understand the experimentalism as characteristic of prominence in the musical performance of the group JAGUARIBE CARNE , idealized and founded by the brothers and Musicians Paraibanos, Paulo Ró and Pedro Osmar. They will be detached in this work for being the main integrants of the group since its creation. Thus, as base in the used works (BÉHAGUE,1984; SCHECHNER, 2006; COOK, 2006; MADRID, 2009), I understand as performance any human being activity in which a reflection is done on its means and relationships with the society. From the music point of view , the performance congregates not only the event in itself (hearing and artists), but all the previous technician procedures to the situation of the presentation or writing and the posterior unfolding to this occasion, as critical musical comedies, stories, colloquies, listening, memories, among other aspects. The methodological course developed in this work finds consonance with the particularities of the case study. In this way, as instrument of collection of data had been used, the documentary research, photographs, bibliographical research, discografic-fonograph research, interviews and participant comment. These data, later, had been categorized and analyzed with sights to help the understanding of the studied subject. By ways of analyses, it was possible to verify that in the compositions of the group there is not the concern in contemplating musical formal requirements, whose songs are carried through in accordance with their informal learning‟s by means of debates, listening, readings, performance in social projects, where participants of the Group makes a re-reading of these information in accordance with their spontaneous aims. The experimental character in their songs has also the objective to repudiate the commercial relations of the cultural market and to propose a musical aesthetic that is innovative in terms of musical -sonority and compromised with the social conflicts. Thus, the Group makes use of genres popular and folkloric from various countries and it joins them to a global sonority, with the erudite musical vanguards and to the engaged speech of the songs of national - popular one, generating, a species of sonorous des-construction of these genres. / Com uma vasta produção musical que se realiza com diferentes formações musicais, o grupo paraibano Jaguaribe Carne possui um diversificado repertório cujas performances estão, principalmente, focadas em questões sociais da vida urbana. O grupo produz uma sonoridade que busca o diferente, o inesperado, a provocação, ou seja, trata-se de uma música que foge dos recorrentes padrões midiáticos. Esse trabalho objetiva compreender o experimentalismo como característica de destaque na performance musical do grupo Jaguaribe Carne, idealizado e fundado pelos irmãos e músicos paraibanos, Paulo Ró e Pedro Osmar. Estes vão ser destacados por serem os principais integrantes do grupo desde a sua criação. Assim, com base nos trabalhos utilizados (BÉHAGUE, 1984; SCHECHNER, 2006; COOK, 2006; MADRID, 2009), entendo performance como qualquer atividade humana na qual se faça uma reflexão sobre seus significados e relacionamentos com a sociedade. Do ponto de vista da música, a performance congrega não apenas o evento em si (audiência e artistas), mas todos os procedimentos técnicos anteriores à situação da apresentação ou gravação e os desdobramentos posteriores a esta ocasião, como críticas musicais, relatos, conversas, escutas, memórias, dentre outros aspectos. O percurso metodológico desenvolvido neste trabalho encontra consonância com as particularidades do estudo de caso. Deste modo, como instrumento de coleta de dados foram utilizados, a pesquisa documental, fotografias, pesquisa bibliográfica, pesquisa discográfico-fonográfica, entrevistas e observação participante. Estes dados, posteriormente, foram categorizados e analisados com vistas a ajudar na compreensão do tema estudado. Por meios das análises, foi possível verificar que nas composições do grupo não há a preocupação em contemplar exigências formais musicais, cujas músicas são realizadas de acordo com seus aprendizados informais realizados por meio de debates, escutas, leituras, atuação em projetos sociais, onde participantes do grupo fazem uma releitura dessas informações de acordo com seus anseios espontâneos.

Orientador: Sérgio Vicente Motta / Banca: Luis Gonzaga Marchezan / Banca: Antonio Manoel dos Santos Silva / Resumo: "Cara-de-Bronze" é uma das narrativas mais experimentais de João Guimarães Rosa por apresentar uma arquitetura textual construída sobre variadas camadas discursivas que movimentam substratos culturais implícitos e explícitos, relacionados tanto à cultura ocidental, como, por exemplo, o medievalismo e a tradição literária da novela de cavalaria, quanto à cultura oriental, como os upanixades indianos citados em forma de nota de rodapé. Seu caráter multifacetado é tal que ainda é passível de problematização a inscrição dessa narrativa em um gênero (ou forma narrativa) definido, pois nela há rastros dos três grandes gêneros - o Lírico, o Épico (narrativo) e o Dramático - e, ainda, dentro de cada um , outras pistas que levam à percepção de variadas formas, tanto do poema, da cantiga e do cantar de gesta, quanto da epopéia, do conto e da novela; e mais ainda, do teatro e do cinema. Essa implosão de fronteiras discursivas revela a dualidade essencial da obra, sua fundação alicerçada em dois suportes: um arcaico e outro moderno, percebidos na tradição literária e na experimentação formal. O intuito, portanto, é verificar o modo como a sobreposição de planos culturais e de enredo, assim como a transposição de gêneros e de códigos artísticos mobilizam metalinguisticamente tais... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: "Cara-de-Bronze" is one of João Guimarães Rosa's most experimental narratives, for it presents a textual architecture built over several discursive layers that move implied and explicit cultural substrates related both to Western culture, as for example the medievalism and the literary tradition of medieval novels, and to Eastern-Asian culture, as the Indian Upanishads quoted as footnote. Its multi-facial characteristic is so intense that inserting this narrative into a defined genre (or narrative form) comes to a problem, because there are traces of the three great genres - Lyric, Epic, and Tragedy - in it, and, yet, inside each of them, other clues that reveal the perception of several forms, both from poetry, from folk songs or chanson de geste, and from the epopee, from the short-stories and from the novella; and, furthermore, from theater and cinema. This implosion of discursive boundaries shows the work of art's dual essence, its foundation built upon two bases: one archaic and the other modern, noticeable in the literary tradition and in the formal experimentation. The aim is, therefore, to verify how the overlaying of cultural plans and of plot, as well as the transposition of genre and artistic codes, mobilize metalinguistically the inter- and intra-discursive layers and make Rosa's work an aesthetical experiment whose objective is pointing out the artistic process itself and the poetical effect that follow as a result. With the general aim of investigating this narrative, the analysis here developed see as relevant the theories which are based on the critical current that regards the text as an object. From the concepts of formal experimentation, discussed by Antonio Manoel dos Santos Silva (2009), a path follows based on literary French semiotics, greimasian, rethought by Denis Bertrand (2003), on cultural semiotics, from Tartu's school, edified... (Complete abstract click electronic access below) / Mestre

L’objet de ce travail de recherche sur la perspective transfrontalière de l’emploi dans l’Eurorégion Aquitaine-Euskadi, est d’engager une réflexion à partir de la comparaison des ordres juridiques espagnol et français, sur les voies et les moyens juridiques susceptibles de permettre une certaine forme d’intégration des politiques de l’emploi à l’échelle eurorégionale, en dépassant deux séries d’obstacles : ceux inhérents à la coexistence de deux systèmes juridiques nationaux au sein d’un espace unique de type eurorégional, mais également ceux liés à la libre circulation des travailleurs, à la fois individus et citoyens. La démonstration de cette thèse s’opère en deux phases : une première phase descriptive et analytique suivie d’une seconde phase de modélisation. En premier lieu il s’agit d’exposer que les politiques nationales de l’emploi qui s’appliquent dans les zones frontalières qui forment l’Eurorégion Aquitaine-Euskadi, se caractérisent toutes deux, par une hégémonie étatique et une ambiguïté territoriale (Première partie).En second lieu, il est proposé d’envisager une évolution des politiques de l’emploi vers une « défronterisation » grâce à la mise en oeuvre du processus d’intégration (Deuxième partie). / This research about the cross-border perspective of employment in the Euroregion Aquitaine- Euskadi, based on a comparison between the spanish and french legal systems, aims to analyze the ways and legal tools towards a certain form of integration of employment policies at euroregional scale. It supposes to get through two kinds of difficulties: those related to the coexistence of two national legal systems within a single euroregional space and those related to the freedom of movements of workers, as individuals and citizens. The first step of the research is a descriptive and analitical one; the second step proposes a form of modelisation. First, the thesis aims at describing the national employment policies wich are implemented in cross-border areas such as the Euroregion Aquitaine-Euskadi. Both of them are characterized by a State hegemony and by a complex organization of competences of local authorities. Second, it suggests an evolution of employment policies towards the neutralisation of the border effect thanks to the implementation of integration processes through experimental legal rules.