The issue of transgenic crops and the third world is mostly neglected in secondary education. In view of the fact that it is an interesting topic that gains greater importance worldwide, it would deserve the place in secondary education. It is not necessary to submit information about this topic only in the text form to students but teaching methods that force the students to gain information actively, can be used. Text for teachers was created in diploma thesis. The text could serve as a source of information for teachers in preparing for the lesson about this topic. Then test for students was created. The test consists of tasks that are inspired by the PISA. Students have to gain information actively from the texts in the tasks to solve the tasks correctly. The test consists of three thematic areas (transgenic crops, golden rice, vaccination and edible vaccines) and 16 questions (31 including the sub-questions). The test was verified on a sample of 82 grammar school students at the age of 16 to 19 years. The students were of the four classes in four grammar schools. The students recorded their answers in a data sheet. The data sheet included additional questions that sought the views and attitudes of students towards texts and questions in the test. The teachers completed the questionnaire. The...

Los Sueños de Quevedo es una obra satírica que contiene una incisiva crítica social, de la que no escapa la realidad jurídica de la época. Con la ayuda que prestan los puentes metodológicos generados con la combinación de las ciencias literaria y jurídica, en este trabajo de investigación interdisciplinar se analiza el componente jurídico presente de forma dispersa en esta narración ficcional de naturaleza satírica, estudiando su contenido y forma de presentación en base a la clasificación que se propone de los elementos de carácter jurídico. Mediante su comparación con fuentes documentales jurídicas de la época y con el filtro que proporciona el pensamiento pluridimensional filosófico y doctrinal del autor, se pretende además una aproximación a las circunstancias histórico-jurídicas de finales del siglo XVI y principios del XVII, así como, a la visión que tiene Quevedo de la misma y la valoración que otorga a la administración de justicia y a la justicia misma, contribuyendo con ello al mejor conocimiento de la obra literaria, de su creador y de la época en la que se escribió. / Sueños by Quevedo is a satirical work that contains an incisive social criticism, from which the legal reality of the time does not escape. This interdisciplinary research analyzes the legal component present in Quevedo’s fictional narrative with help from the methodological bridges built between the literary and legal sciences. In this paper a proposed classification of the legal elements is used as the basis for analysis of Sueños’ content and form. By comparing the results with legal documentary sources of the time and with the filter provided by the author's multidimensional philosophical and doctrinal thought, an approach to the historical-legal circumstances of the late sixteenth and early seventeenth centuries is also reached, as well as, Quevedo's view and assessment of the administration of justice and justice itself in his contemporary society. The analysis contributes to a better understanding of Sueños, its author and the time in which it was written.

The aim of this study is to highlight the significance of the prohibition of making any image of God as found in the second commandment of the Decalogue in Exodus 20:4-6 with its inner-biblical interpretations in Exodus 32:1-6 and in Isaiah 40:18-20. This study has discussed the close connection between the prohibition of making any image of God in the second commandment of the Decalogue, the idea of Yahweh’s incomparability in the introduction and the command to worship God only in the first commandment. God’s incomparability prevents Israel from worshipping any other god by making images of them or making any image of God. The ‘construct of the introduction and the first two commandments of the Decalogue’ serves as a linchpin concept in our understanding of the prohibition of making any image of God. The aniconism matriculated in the second commandment of the Decalogue in Exodus 20:4-6 in relation with the introduction and the first commandment in Exodus 20:2-3 forms the basis for the prohibition of making any image of God from the Sinai event onwards. This construct in Exodus 20:2-6 is shared with Exodus 32:1-6 and Isaiah 40:18-20. There an inner-biblical interpretation of the aniconism of the second commandment of the Decalogue in Exodus 20:4-6 in reaction with the introduction and the first commandment in Exodus 20:2-3 explicates and applies the meaning of the command in a new situation. Chapter 1 deals with the statement of the problem and the hypothesis of this study, its methodology, theological rationale, and the aim of this study. Chapter 2 discusses that the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6 is important, not only as a phenomenon in the Pentateuch, but also as the provenance of aniconism in the rest of Old Testament. Exodus 20:4-6 can be considered as the explicit traceable provenance of the prohibition of making any image of God in the Pentateuch and the rest of Old Testament. The ‘introduction and first two commandments of the Decaologue construct’ provides a framework within which the meaning of the prohibition of making any image of God in the second commandment can be understood in the context of the introduction of the Decalogue in Exodus and the first commandment of the Decalogue. The second commandment of the Decalogue is sometimes backed up by only the first commandment of the Decalogue and sometimes by both of them. The origin of the second commandment of the Decalogue in Exodus 20:4-6 as the prohibition of making any image of God whether it comes from the early or later stages of Israel’s history is discussed with the discussion on the arrangement of the Decalogue in the Sinai pericope (Ex 19:1-24:11) and the relation between the two Decalogues in Exodus 20:2-17 and Deuteronomy 5:6-21. The sharp differences of opinions on the provenance of the prohibition in the second commandment of the Decalogue in Exodus 20:4-6 is dealt with. This study supposes that the dating of the prohibition on making any image of God of the Decalogue should be attributed to Moses’ time as stated in the text of the Pentateuch. Chapter 3 deals with one key Pentateuchal text for the prohibition of making any image of God, Exodus 32:1-6, as an example that the second commandment represents the prohibition on making any image of God in relation with the introduction and the first commandment of the Decalogue proclaiming God’s incomparability, which is called ‘the introduction and the first two commandments of the Decalogue construct’ in this study. Exodus 32:1-6 is regarded to be an interpretation of the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6. Chapter 4 deals with Isaiah 40:18-20, which forbids idol-fabrication and the worship of an image of God in its relation with the proclamation of God’s incomparability, as well as with the worship of other gods and their images. This chapter deals with the similarity of the negative attitude toward worship of God through images found in the legal and prophetical parts of the Hebrew Bible. Theologically speaking, Isaiah’s message is in line with the Pentateuch, and flows from the office of the prophet as a plenipotentiary of God to condemn the transgression of the covenantal law. This similarity of the idea between them is seen in respect of its linguistic aspects. Considering the rules of the nature of analogies between texts, there can be seen a correlation between the introduction and first two commandments of the Decalogue in Exodus 20:2-6 and the passage dealing with the incomparability of God and the idol-fabrication in Isaiah 40:18-20. The final chapter summarizes the flow of the argument in this thesis dealing with three phenomena of aniconism in the Old Testament and suggests the conclusion of this thesis based on the result of the exegetical and thematic study on the three passages. / Thesis (PhD)--University of Pretoria, 2011. / Old Testament Studies / unrestricted

Denna kandidatuppsats undersöker den nederländska kompositören Jacob van Eycks verk Der Fluyten Lust-hof och den variationsstil som används inom verket. Detta skedde genom studier av Ruth van Baak Griffioens avhandling Jacob van Eyck’s Der Fluyten Lust-Hof och Thiemo Winds avhandling Jacob van Eyck and the Others samt egna studier av variationerna inom verket. Detta kulminerade i sju egenskrivna variationer över den svenska psalmen Den blomstertid nu kommer i Jacob van Eycks ikoniska stil. Genom arbetet har jag uppnått en ökad förståelse om van Eycks liv, hans variationsteknik samt en friare interpretation och stilistisk säkerhet vid framtida framförande av hans musik / This essay investigates the Dutch composer Jacob van Eycks work Der Fluyten Lust-hof and the style of diminution which is used within the work. Previous works about Jacob van Eyck, such as Jacob van Eyck’s Der Fluyten Lust-Hof by Ruth van Baak Griffioen and Jacob van Eyck and the others by Thiemo Wind, as well as my own studies of the work are consulted in the studying of van Eycks variation style. This culminated in seven variations of the Swedish psalm Den blomstertid nu kommer written by my own hand in Jacob van Eycks iconic style. Throughout this work I have gained a better understanding about van Eycks life, his diminution technique as well as achieved a freer interpretation and stylistic confidence when preforming van Eycks music. / <p>Alicia Petersson (1998-)</p><p>Variationer i Jacob van Eycks variationsstil över Den blomstertid nu kommer </p><p>Alicia Petersson, blockflöjt</p>

The diploma thesis deals with the preparation of a financial analysis of seven construction companies based in the Zlín Region. The financial accounting statements for the five accounting periods from 2016 to 2020 are used as sources of information, which have been converted into electronic form and subsequently the values needed to apply the golden financing rules have been removed from them. Data for the same period from 2016 to 2020 were further processed, which is published by the Ministry of Industry and Trade of the Czech Republic in its appendix to the publication Financial Analysis of the Corporate Sphere. From these data, individual golden financing rules were determined, which were compared with the analyzed companies. Finally, the results of the analyzes are summarized and commented.

By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.

The bias against attractiveness is fairly implicit and furthermore, powerfully impacts people’s subsequent impressions of and behaviors toward others (Cash, Gillen, & Burns, 1977; Dion et al., 1972). Pallet, Link and Lee (2010) examined the effect of various facial spatial configurations on attractiveness and found that raters rated faces as most attractive when the eyeto-mouth ratio approximated 36% of the face length (the "golden ratio"), which coincides with the measurements of an average and thus more attractive face. The present study examined the extent to which the distance of these objectively measured facial features affected mentors’ perceptions of their protégés, the subsequent mentoring given to them, and the protégés’ own behavior (e.g. seek feedback, request specific information).The gender composition of the mentor-protégé dyad was expected to moderate these relationships. I also examined whether, given the expected effects of facial measurements, withholding access to visual cues would affect mentor perceptions and behavior. Participants were 118 mentor/protégé dyads from a large Southeastern university who volunteered to participate in a formal online peer mentoring program. After seeing their protégés’ profiles (and for those in the experimental condition, a picture), mentors chatted with their protégés once a week for 30 minutes for a total of 4 weeks. Results indicated that protégés with facial features moderately distant from the golden ratio were perceived as more similar by mentors in same-gender dyads and received greater mentoring than did protégés closest and farthest from the golden ratio. In opposite-gender dyads, however, mentors reported greater similarity toward those that were farthest from the golden ratio but provided the greatest mentoring to those closest to the golden ratio. The relationship iv between facial measurements and protégé proactivity was moderated by whether or not their mentor had access to their picture. While protégés closest to the ratio were more proactive in the picture condition, those that were farthest from it were more proactive in the non-picture condition. Proactivity was as expected associated with greater levels of mentoring, which was ultimately related to a more fulfilled and beneficial relationship for protégés (i.e. less stress, greater self-efficacy and satisfaction). The results of this study indicate that facial measurements are associated with both differences in mentor and in protégé behavior and that the specific nature of these relationships differs as a function of gender composition. Implications for practice and theory will be discussed

Chaos Engineering (CE) intentionally disrupts distributed systems by introducing faults into the system to better understand and improve their resilience. By studying these intentional disruptions, CE provides insights that help enhance system performance and the overall user experience. However, two main challenges exist: reducing the negative impact or ”blast radius” of these CE experiments without diluting the value of the CE experiment and identifying a standardized set of metrics to monitor during such CE experiments. This research addresses these challenges by monitoring application and system-level metrics known as the Golden Signals, and a steady-state metric called the Apdex score during a CE experiment. Using Pearson and Spearman correlation analyses alongside Granger Causality tests, a strong connection between the Golden Signals and Apdex score is identified. The study also introduces a new health-check system design that uses the Apdex score to automatically stop a CE experiment if a preset threshold is violated. Furthermore, the design also introduces a method for early termination of the CE experiment based on forecasted Apdex scores. This method not only limits potential system damage but also reveals key system weaknesses, striking a balance between risk and discovery. / Chaos Engineering (CE) stör medvetet distribuerade system genom att införa fel i systemet för att bättre förstå och förbättra deras motståndskraft. Genom att studera dessa medvetna störningar ger CE insikter som hjälper till att förbättra systemprestanda och den övergripande användarupplevelsen. Två huvudutmaningar finns dock: att minska den negativa effekten eller ”blast radius” av dessa CE-experiment utan att försämra värdet av CE-experimentet och att identifiera en standardiserad uppsättning av mätvärden att övervaka under sådana CE-experiment. Denna forskning tar itu med dessa utmaningar genom att övervaka applikations- och systemnivåmätvärden kända som Golden Signals, och en jämviktsmetrik kallad Apdex-poängen under ett CE-experiment. Genom att använda Pearson och Spearmans korrelationsanalyser tillsammans med Granger orsakssambandstester identifieras en stark koppling mellan Golden Signals och Apdex-poängen. Studien introducerar också en ny hälsocheck-systemdesign som använder Apdex-poängen för att automatiskt stoppa ett CE-experiment om ett förinställt tröskelvärde överskrids. Vidare introducerar designen också en metod för tidig avslutning av CE-experiment baserat på förutsagda Apdex-poäng.. Denna metod begränsar inte bara potentiell systemskada utan avslöjar också nyckelsystemsvagheter och skapar en balans mellan risk och upptäckt.

This essay studies the historical phenomenon of dog-headed men (cynocephaly) andSaint Christopher who is in eastern-orthodox iconography depicted as a dog headedman. The study argues that a symbolic and phenomenological perspective is preferredto understand mythical figures with “unnatural” depictions. In order to reach aconclusion about the symbolic meaning behind dog-headed men and SaintChristopher, the human experience of dogs and their role in our world is examined indetail to construct a theory concerning their symbolism. The theory is then applied todepictions of dogs and dog-headed men in religious stories and images as well ashistorical accounts to see if the theory fits the facts.The study concludes that dog-headed men and Saint Christopher symbolize a kind of“guardian of the border”. What it means to guard the border has different implicationsdepending on if the dog-headed man is depicted in a Christian or non-Christiancontext. When reading the story of Saint Christopher with this pattern in mind, thereason for his legendary depiction is revealed. The conclusion is supported bycomparing Saint Christopher to stories from the bible which symbolize “the rolewhich the border can play as a part of the whole”. The dog-headed men of history, thesaint and the biblical stories all reinforce the symbolism of each other, revealing thedeeper meaning behind the wild, peripheral side of Christianity.

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