Uma das três obras que influenciaram profundamente gerações de escritores e leitores de quadrinhos no ano de 1986, junto a O Cavaleiro das Trevas, de Frank Miller e Maus, de Art Spiegelman, Watchmen, de Alan Moore e Dave Gibbons, é o mais próximo que se pode chegar de um cânone dos quadrinhos. A obra venceu o Prêmio Hugo de Ficção Científica de 1988, na categoria Outras Formas, e é considerada um dos melhores romances de todos os tempos pela revista Time. Um dos primeiros quadrinhos a sair da esfera das publicações especializadas e receber atenção de outras mídias, Watchmen é menção obrigatória para se entender a história do meio. Ainda assim, só começou a ser estudado com profundidade recentemente. A maior parte dos trabalhos sobre o quadrinho é centrada em suas propriedades históricas, a psicologia das personagens ou de que maneira estes se relacionam com a Filosofia – diferentes aspectos de uma obra meritória, que ao longo de muitos anos atingiu um grande público. O que esses estudos têm em comum é que, ao focar sua atenção nos detalhes, esquecem da narrativa – a estória que a obra conta. Esta dissertação enfoca o quadrinho como um todo; sua história e a maneira como é construída, através da teoria narrativa, considerada apropriada para este fim. A teoria narrativa é o foco da primeira parte do trabalho, junto à introdução por razões de espaço. Os trabalhos mais significativos na área são revisados e comentados. A linguagem dos quadrinhos e suas especificidades são o tema da segunda parte, também apresentando uma leitura das principais obras sobre o assunto. A terceira parte é dedicada às poucas tentativas realizadas com o intuito de conciliar ambas as linhas teóricas. A análise de Watchmen acontece na quarta seção. Além de listar os diferentes componentes narrativos, como eventos, cenário, tempo (dividido em ordem, duração e frequência), narrativa e focalização, também há uma extensa análise do estilo e das cores do traço, apresentada como um passo necessário na compreensão do tom e visão do narrador, dividido aqui entre meganarrador, monstrador e recitador. Na última parte, dedicada às considerações finais sobre o trabalho e que fins atingiu, se apresenta também uma interpretação do quadrinho, baseada em uma leitura pessoal. / One of three books that deeply influenced generations of comics writers and readers in 1986, together with Frank Miller’s The Dark Knight Returns and Art Spiegelman’s Maus, Watchmen, by Alan Moore and Dave Gibbons, is as close to a canonic work as one could get, regarding comics. It won the 1988 Hugo Award, for science fiction books, in the Other Forms category, and was mentioned as one of the hundred best novels by Time magazine. One of the first comics to break out of the sphere of specialized reviews and receive acknowledgement from other media, it is an obligatory mention whenever one attempts to understand the History of the medium. And yet, it has not been thoroughly studied until recently. Most works dealing with the comic focus on its historical properties, the psychology of its characters or how they relate to Philosophy – different aspects of a merited novel which has achieved a large public throughout the years. But what these studies have in common is that, focusing on the detail, they overlook the narrative – the story presented in the work. This work focuses on the comic as a whole, its story and the way it is construed, through narrative theory – a theory based on the understanding of narratives and their constitutive parts, and, as such, clearly appropriate for the task. Narrative theory is the focus of the first part of the work, put together with the introduction for economy reasons. The most prominent works on the subject are reviewed and commented. The language of comics and its specificities are the theme of the second part of the work, also with reviews of its most significant works. The third part is dedicated to a few attempts of conciliation between both theoretical frameworks already developed. The analysis of Watchmen takes place in the fourth chapter. Besides listing the comic’s different narrative components, such as events, setting, time (divided in order, duration and frequency), narrative and focalization; there is also an extensive analysis of style and colors, presented as a necessary step in understanding the tone and views of the narrator, here divided into meganarrator, monstrator and reciter. In the final part, dedicated to considerations about the research and what it may have achieved, an interpretation of the novel is also presented, based on a personal reading.

This dissertation consist of three parts. The first part of the thesis is devoted to the study of gravity and higher spin gauge theories in 2+1 dimensions. We construct cosmological so-lutions of higher spin gravity in 2+1 dimensional de Sitter space. We show that a consistent thermodynamics can be obtained for their horizons by demanding appropriate holonomy conditions. This is equivalent to demanding the integrability of the Euclidean boundary CFT partition function, and reduces to Gibbons-Hawking thermodynamics in the spin-2 case. By using a prescription of Maldacena, we relate the thermodynamics of these solutions to those of higher spin black holes in AdS3. For the case of negative cosmological constant we show that interpreting the inverse AdS3 radius 1=l as a Grassmann variable results in a formal map from gravity in AdS3 to gravity in flat space. The underlying reason for this is the fact that ISO(2,1) is the Inonu-Wigner contraction of SO(2,2). We show how this works for the Chern-Simons actions, demonstrate how the general (Banados) solution in AdS3 maps to the general flat space solution, and how the Killing vectors, charges and the Virasoro algebra in the Brown-Henneaux case map to the corresponding quantities in the BMS3 case. Our results straightforwardly generalize to the higher spin case: the flat space higher spin theories emerge automatically in this approach from their AdS counterparts. We also demonstrate the power of our approach by doing singularity resolution in the BMS gauge as an application. Finally, we construct a candidate for the most general chiral higher spin theory with AdS3 boundary conditions. In the Chern-Simons language, the left-moving solution has Drinfeld-Sokolov reduced form, but on the right-moving solution all charges and chemical potentials are turned on. Altogether (for the spin-3 case) these are 19 functions. Despite this, we show that the resulting metric has the form of the “most general” AdS3 boundary conditions discussed by Grumiller and Riegler. The asymptotic symmetry algebra is a product of a W3 algebra on the left and an affine sl(3)k current algebra on the right, as desired. The metric and higher spin fields depend on all the 19 functions. The second part is devoted to the problem of Neumann boundary condition in Einstein’s gravity. The Gibbons-Hawking-York (GHY) boundary term makes the Dirichlet problem for gravity well defined, but no such general term seems to be known for Neumann boundary conditions. In our work, we view Neumann boundary condition not as fixing the normal derivative of the metric (“velocity”) at the boundary, but as fixing the functional derivative of the action with respect to the boundary metric (“momentum”). This leads directly to a new boundary term for gravity: the trace of the extrinsic curvature with a specific dimension-dependent coefficient. In three dimensions this boundary term reduces to a “one-half” GHY term noted in the literature previously, and we observe that our action translates precisely to the Chern-Simons action with no extra boundary terms. In four dimensions the boundary term vanishes, giving a natural Neumann interpretation to the standard Einstein-Hilbert action without boundary terms. We also argue that a natural boundary condition for gravity in asymptotically AdS spaces is to hold the renormalized boundary stress tensor density fixed, instead of the boundary metric. This leads to a well-defined variational problem, as well as new counter-terms and a finite on-shell action. We elaborate this in various (even and odd) dimensions in the language of holographic renormalization. Even though the form of the new renormalized action is distinct from the standard one, once the cut-off is taken to infinity, their values on classical solutions coincide when the trace anomaly vanishes. For AdS4, we compute the ADM form of this renormalized action and show in detail how the correct thermodynamics of Kerr-AdS black holes emerge. We comment on the possibility of a consistent quantization with our boundary conditions when the boundary is dynamical, and make a connection to the results of Compere and Marolf. The difference between our approach and microcanonical-like ensembles in standard AdS/CFT is emphasized. In the third part of the dissertation, we use the recently developed CFT techniques of Rychkov and Tan to compute anomalous dimensions in the O(N) Gross-Neveu model in d = 2 + dimensions. To do this, we extend the “cow-pie contraction” algorithm of Basu and Krishnan to theories with fermions. Our results match perfectly with Feynman diagram computations.

Uma das três obras que influenciaram profundamente gerações de escritores e leitores de quadrinhos no ano de 1986, junto a O Cavaleiro das Trevas, de Frank Miller e Maus, de Art Spiegelman, Watchmen, de Alan Moore e Dave Gibbons, é o mais próximo que se pode chegar de um cânone dos quadrinhos. A obra venceu o Prêmio Hugo de Ficção Científica de 1988, na categoria Outras Formas, e é considerada um dos melhores romances de todos os tempos pela revista Time. Um dos primeiros quadrinhos a sair da esfera das publicações especializadas e receber atenção de outras mídias, Watchmen é menção obrigatória para se entender a história do meio. Ainda assim, só começou a ser estudado com profundidade recentemente. A maior parte dos trabalhos sobre o quadrinho é centrada em suas propriedades históricas, a psicologia das personagens ou de que maneira estes se relacionam com a Filosofia – diferentes aspectos de uma obra meritória, que ao longo de muitos anos atingiu um grande público. O que esses estudos têm em comum é que, ao focar sua atenção nos detalhes, esquecem da narrativa – a estória que a obra conta. Esta dissertação enfoca o quadrinho como um todo; sua história e a maneira como é construída, através da teoria narrativa, considerada apropriada para este fim. A teoria narrativa é o foco da primeira parte do trabalho, junto à introdução por razões de espaço. Os trabalhos mais significativos na área são revisados e comentados. A linguagem dos quadrinhos e suas especificidades são o tema da segunda parte, também apresentando uma leitura das principais obras sobre o assunto. A terceira parte é dedicada às poucas tentativas realizadas com o intuito de conciliar ambas as linhas teóricas. A análise de Watchmen acontece na quarta seção. Além de listar os diferentes componentes narrativos, como eventos, cenário, tempo (dividido em ordem, duração e frequência), narrativa e focalização, também há uma extensa análise do estilo e das cores do traço, apresentada como um passo necessário na compreensão do tom e visão do narrador, dividido aqui entre meganarrador, monstrador e recitador. Na última parte, dedicada às considerações finais sobre o trabalho e que fins atingiu, se apresenta também uma interpretação do quadrinho, baseada em uma leitura pessoal. / One of three books that deeply influenced generations of comics writers and readers in 1986, together with Frank Miller’s The Dark Knight Returns and Art Spiegelman’s Maus, Watchmen, by Alan Moore and Dave Gibbons, is as close to a canonic work as one could get, regarding comics. It won the 1988 Hugo Award, for science fiction books, in the Other Forms category, and was mentioned as one of the hundred best novels by Time magazine. One of the first comics to break out of the sphere of specialized reviews and receive acknowledgement from other media, it is an obligatory mention whenever one attempts to understand the History of the medium. And yet, it has not been thoroughly studied until recently. Most works dealing with the comic focus on its historical properties, the psychology of its characters or how they relate to Philosophy – different aspects of a merited novel which has achieved a large public throughout the years. But what these studies have in common is that, focusing on the detail, they overlook the narrative – the story presented in the work. This work focuses on the comic as a whole, its story and the way it is construed, through narrative theory – a theory based on the understanding of narratives and their constitutive parts, and, as such, clearly appropriate for the task. Narrative theory is the focus of the first part of the work, put together with the introduction for economy reasons. The most prominent works on the subject are reviewed and commented. The language of comics and its specificities are the theme of the second part of the work, also with reviews of its most significant works. The third part is dedicated to a few attempts of conciliation between both theoretical frameworks already developed. The analysis of Watchmen takes place in the fourth chapter. Besides listing the comic’s different narrative components, such as events, setting, time (divided in order, duration and frequency), narrative and focalization; there is also an extensive analysis of style and colors, presented as a necessary step in understanding the tone and views of the narrator, here divided into meganarrator, monstrator and reciter. In the final part, dedicated to considerations about the research and what it may have achieved, an interpretation of the novel is also presented, based on a personal reading.

Uma das três obras que influenciaram profundamente gerações de escritores e leitores de quadrinhos no ano de 1986, junto a O Cavaleiro das Trevas, de Frank Miller e Maus, de Art Spiegelman, Watchmen, de Alan Moore e Dave Gibbons, é o mais próximo que se pode chegar de um cânone dos quadrinhos. A obra venceu o Prêmio Hugo de Ficção Científica de 1988, na categoria Outras Formas, e é considerada um dos melhores romances de todos os tempos pela revista Time. Um dos primeiros quadrinhos a sair da esfera das publicações especializadas e receber atenção de outras mídias, Watchmen é menção obrigatória para se entender a história do meio. Ainda assim, só começou a ser estudado com profundidade recentemente. A maior parte dos trabalhos sobre o quadrinho é centrada em suas propriedades históricas, a psicologia das personagens ou de que maneira estes se relacionam com a Filosofia – diferentes aspectos de uma obra meritória, que ao longo de muitos anos atingiu um grande público. O que esses estudos têm em comum é que, ao focar sua atenção nos detalhes, esquecem da narrativa – a estória que a obra conta. Esta dissertação enfoca o quadrinho como um todo; sua história e a maneira como é construída, através da teoria narrativa, considerada apropriada para este fim. A teoria narrativa é o foco da primeira parte do trabalho, junto à introdução por razões de espaço. Os trabalhos mais significativos na área são revisados e comentados. A linguagem dos quadrinhos e suas especificidades são o tema da segunda parte, também apresentando uma leitura das principais obras sobre o assunto. A terceira parte é dedicada às poucas tentativas realizadas com o intuito de conciliar ambas as linhas teóricas. A análise de Watchmen acontece na quarta seção. Além de listar os diferentes componentes narrativos, como eventos, cenário, tempo (dividido em ordem, duração e frequência), narrativa e focalização, também há uma extensa análise do estilo e das cores do traço, apresentada como um passo necessário na compreensão do tom e visão do narrador, dividido aqui entre meganarrador, monstrador e recitador. Na última parte, dedicada às considerações finais sobre o trabalho e que fins atingiu, se apresenta também uma interpretação do quadrinho, baseada em uma leitura pessoal. / One of three books that deeply influenced generations of comics writers and readers in 1986, together with Frank Miller’s The Dark Knight Returns and Art Spiegelman’s Maus, Watchmen, by Alan Moore and Dave Gibbons, is as close to a canonic work as one could get, regarding comics. It won the 1988 Hugo Award, for science fiction books, in the Other Forms category, and was mentioned as one of the hundred best novels by Time magazine. One of the first comics to break out of the sphere of specialized reviews and receive acknowledgement from other media, it is an obligatory mention whenever one attempts to understand the History of the medium. And yet, it has not been thoroughly studied until recently. Most works dealing with the comic focus on its historical properties, the psychology of its characters or how they relate to Philosophy – different aspects of a merited novel which has achieved a large public throughout the years. But what these studies have in common is that, focusing on the detail, they overlook the narrative – the story presented in the work. This work focuses on the comic as a whole, its story and the way it is construed, through narrative theory – a theory based on the understanding of narratives and their constitutive parts, and, as such, clearly appropriate for the task. Narrative theory is the focus of the first part of the work, put together with the introduction for economy reasons. The most prominent works on the subject are reviewed and commented. The language of comics and its specificities are the theme of the second part of the work, also with reviews of its most significant works. The third part is dedicated to a few attempts of conciliation between both theoretical frameworks already developed. The analysis of Watchmen takes place in the fourth chapter. Besides listing the comic’s different narrative components, such as events, setting, time (divided in order, duration and frequency), narrative and focalization; there is also an extensive analysis of style and colors, presented as a necessary step in understanding the tone and views of the narrator, here divided into meganarrator, monstrator and reciter. In the final part, dedicated to considerations about the research and what it may have achieved, an interpretation of the novel is also presented, based on a personal reading.

Uppsatsen undersöker genom diskursanalys kravprogressionen i muntliga nationella prov i svenska från årskurs 6 till gymnasiets kurs 3. För att uppnå detta genomförs analys av fyra nationella prov efter en analysmodell konstruerad med hjälp av tidigare etablerade teoretiska modeller för språkutveckling. Även de styrdokument som dikterar provens utformning har innefattats av undersökningen. Analysmodellen behandlar autenticitet och meningsfullhet, språkliga kontextuella faktorer, språklig genre samt språkliga verksamheter och roller. Tillsammans svarar dessa på följande frågor:   Vilka förväntningar ställer de nationella proven på hur elevens muntliga färdighet ska utvecklas från årskurs sex till gymnasiets slut?  Hur förhåller sig proven till teoretiska beskrivningar av språkutveckling, kontext och autenticitet i muntlig kommunikation?   Undersökningen visar att svenska elever förväntas utvecklas från dugliga samtalsdeltagare till respektfulla deltagare i seriösa diskussioner. Därefter skall eleverna ta sig vidare till att bli självständiga och i slutändan mycket seriösa och teoretiskt kunniga retoriker kapabla att framföra egna åsikter och att argumentera för dessa på ett professionellt sätt. Elevens förmåga som samtalsledare prövas dock inte i någon större utsträckning. Vidare visar undersökningen att utvecklingen är alltifrån jämn vare sig inom de olika analysfrågorna eller mellan dem. Särskilt gäller detta i övergången mellan grundskola och gymnasium. Det framgår också att språklig genre och verksamhet blir avsevärt mindre dynamisk ju högre upp i ålder och förväntad språklig kompetens eleven kommer.

This chapter reviews the literature examining interventions to reduce indoor tanning (IT). The first objective was to highlight programs that show promise for large scale dissemination. The second objective was to promote criteria and standards for future intervention research efforts. The scope of interest for this review includes universal (for everyone in the population), selective (for those in the population who are at a greater risk), and indicated (for those who already are experiencing conditions that identify them as at risk) programs. The evaluation of the interventions resulted in three levels of evidence: (1) most promising, (2) emerging, and (3) mixed. For an intervention to be considered “most promising”, it was required that ten criteria be met through examination of research findings in published reports consistent with Flay and colleagues (Prev Sci 6(3):151–175, 2005). Interventions that were classified as “emerging” met most of the criteria. Finally, interventions classified as “mixed” did not reach threshold on more than two criteria that were deemed critical. The results revealed that there was very limited research on IT interventions that meet all the evaluation criteria. Only one intervention approach met all of the criteria (Appearance Booklet) (Hillhouse and Turrisi, Behav Med 25(4):395–409, 2002; Hillhouse et al., Cancer 113(11):3257–3266, 2008). Although the number of published papers in the IT area has increased dramatically over the past decade, these efforts have yet to translate into rigorously conducted intervention trials. The review points to important issues that need to be addressed in future research on the prevention of IT. Keywords

When Mormons arrived in northern Arizona among the Navajo and Hopi Indians in the late 1850s, Mormon-Indian relations were initially friendly. It was not too long, however, before trouble began in conflicts over water use and land rights. Federal agents would soon consider Mormons a threat to the peaceful Hopis because both the Navajo and Mormons were expanding their land claims. Indian agents relentlessly pleaded with Washington to establish a separate Indian reservation. They anticipated this reservation would satisfy all three parties, but its creation in 1882 only created more problems, climaxing in the 1892 death of Lot Smith at the hands of Atsidí, the local Navajo headman. Tensions continued to increase until federal agents intervened in 1900 and placed Tuba City under a Presidential Executive Order. The order withdrew Tuba City from white claims and resulted in the expulsion of the Mormons from Tuba City in 1903. My contribution is to show how the Navajo and Hopi Indians may have considered the coming of the Mormons as an invasion by a group of foreigners which led to the resulting contest between the trios for the limited natural resources of the northern Arizona desert. Tuba City/Moenkopi has a complicated history and its origins remain contested because it was claimed not only by Mormons, but also by the Navajos and Hopi. Previous historians have neglected the wealth of history that come from using Native American oral histories. This thesis will include the Native point of view but will also integrate it with Mormon and non-Mormon narratives. Doing so will provide another perspective on some of the following: the founding of Tuba City, the creation of the 1882 and 1900 Executive Orders for Navajo and Hopi reservation expansions, the death of the Mormon Lot Smith, and Native American-Mormon relations in the late 1800s in northern Arizona.