We determine several families of so-called associative 3-dimensional manifolds in R7. Such manifolds are of interest because associative 3-cycles in G2 holonomy manifolds such as R6 × S1, whose universal cover is R7, are candidates for representations of fundamental particles in String Theory. We apply the classic results of Harvey and Lawson to find 3-manifolds which are graphs of functions f : Im H → H and which are invariant under a particular 1-parameter subgroup of G2, the automorphism group of the Cayley numbers, O. Systems of PDEs are derived and solved, some special cases of a classic theorem of Harvey and Lawson are investigated, and theorems aiding in the classification of all such manifolds described here are proven. It is found that in most of the cases examined, the resulting manifold must be of the form of the graph of a holomorphic function crossed with R. However, some examples of other types of graphs are also found.

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

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This analysis examines Jonathan Harvey’s seminal electroacoustic work, Advaya, for cello, electronic keyboard, and electronics. The paper is divided into three sections: a survey of Harvey’s writing for cello; a harmonic analysis; and a performance-based analysis. In the first section, I discuss his unique style of cello writing and certain techniques he uses to expand the available palate of colors that can be obtained from the instrument. For the second section I examine the various ways in which Harvey builds musical constructs based on the spectrum of the cello’s A string (220 Hz), and the overarching harmonic structures of the work. In the final section, I discuss issues that arise from the point of view of a musician preparing the piece for performance along with a pedagogical discussion of the extended techniques used, accompanied by companion videos. This paper is intended for cellists, musicians, and non-musicians alike as a springboard for further investigation into the incredible and underrated music of Jonathan Harvey.

A dissertação procura compreender o fenômeno da financeirização no âmbito do capitalismo contemporâneo. Uma série de transformações iniciadas nos anos 1970 assinalou o declínio do regime de acumulação fordista e a provável emergência de uma nova fase do capitalismo. Sua característica fundamental consiste em um movimento de financeirização, decorrente em parte de mudanças desenvolvidas na esfera financeira. Seus traços mais destacados são o aumento exponencial das transações, tanto em termos absolutos como em relação às atividades produtivas; a liberalização e desregulamentação de mercados e das atividades financeiras em todo o mundo; o surgimento de novos agentes e instituições ligados às finanças. Processo este que desembocou no aumento da importância do capital financeiro nos circuitos de valorização. O caráter recente deste fenômeno ainda não permitiu que fossem estabelecidos consensos teóricos sobre a questão. Por conta disso, a dissertação debruça-se sobre as obras de dois pensadores marxistas, François Chesnais e David Harvey, buscando estabelecer semelhanças, diferenças e, sobretudo, as complementaridades de suas contribuições. A escolha de Chesnais se impõe pelo papel destacado que o assunto ocupa em sua obra. Harvey, por sua vez, concede primazia à discussão das relações das finanças com os demais aspectos que caracterizam o capitalismo na atualidade. / The dissertation seeks to understand the phenomenon of \"financialization\" under contemporary capitalism. A series of transformations started in the 1970s which began out the decline of the \"Fordist\" regime of accumulation and the possible emergence of a new phase of capitalism. Its key feature is a movement of \"financialization\", which results in part from changes in the financial sphere. Its distinctive aspects are the exponential increase in transactions, both in absolute terms and in comparison to productive activities; liberalization and deregulation of financial markets and activities around the world; the emergence of new actors and institutions related to finance. This process led to an increased importance of financial capital in the circuits of valorization. This new moment has not yet allowed to establish a theoretical consensus on the issue. For this reason, the dissertation focuses on the works of two Marxist thinkers, François Chesnais and David Harvey, seeking to establish similarities, differences and, above all, complementarities of their contributions. Choosing Chesnais is imposed due to the prominent role the subject occupies in his work. Harvey, in turn, prioritizes the discussion of relations between finance and other aspects of capitalism today.

A dissertação procura compreender o fenômeno da financeirização no âmbito do capitalismo contemporâneo. Uma série de transformações iniciadas nos anos 1970 assinalou o declínio do regime de acumulação fordista e a provável emergência de uma nova fase do capitalismo. Sua característica fundamental consiste em um movimento de financeirização, decorrente em parte de mudanças desenvolvidas na esfera financeira. Seus traços mais destacados são o aumento exponencial das transações, tanto em termos absolutos como em relação às atividades produtivas; a liberalização e desregulamentação de mercados e das atividades financeiras em todo o mundo; o surgimento de novos agentes e instituições ligados às finanças. Processo este que desembocou no aumento da importância do capital financeiro nos circuitos de valorização. O caráter recente deste fenômeno ainda não permitiu que fossem estabelecidos consensos teóricos sobre a questão. Por conta disso, a dissertação debruça-se sobre as obras de dois pensadores marxistas, François Chesnais e David Harvey, buscando estabelecer semelhanças, diferenças e, sobretudo, as complementaridades de suas contribuições. A escolha de Chesnais se impõe pelo papel destacado que o assunto ocupa em sua obra. Harvey, por sua vez, concede primazia à discussão das relações das finanças com os demais aspectos que caracterizam o capitalismo na atualidade. / The dissertation seeks to understand the phenomenon of \"financialization\" under contemporary capitalism. A series of transformations started in the 1970s which began out the decline of the \"Fordist\" regime of accumulation and the possible emergence of a new phase of capitalism. Its key feature is a movement of \"financialization\", which results in part from changes in the financial sphere. Its distinctive aspects are the exponential increase in transactions, both in absolute terms and in comparison to productive activities; liberalization and deregulation of financial markets and activities around the world; the emergence of new actors and institutions related to finance. This process led to an increased importance of financial capital in the circuits of valorization. This new moment has not yet allowed to establish a theoretical consensus on the issue. For this reason, the dissertation focuses on the works of two Marxist thinkers, François Chesnais and David Harvey, seeking to establish similarities, differences and, above all, complementarities of their contributions. Choosing Chesnais is imposed due to the prominent role the subject occupies in his work. Harvey, in turn, prioritizes the discussion of relations between finance and other aspects of capitalism today.

Le jeu de Harvey Keitel et de Rod Steiger réinventent les modèles de masculinité traditionnelle et les rôles de tough guys dans le cinéma américain. Ils permettent la déconstruction des notions-types du genre par l’ouverture de leur interprétation aux émotions, l’harmonie psycho-physique et la concentration sur les intentions et les circonstances. Keitel, acteur-icône du cinéma indépendant et découvreur de talents, se démarque dans un jeu marqué par l’intensité et l’exploration des aspects les plus sombres de l’humanité. Steiger excelle par la figuration de la solitude, de l’ambiguïté et de l’ambivalence, et figure des personnages tels que Napoléon, Mussolini ou Al Capone. Tous deux passés par l’interprétation américaine de la Méthode de Stanislavski, Keitel et Steiger s’affirment comme des acteurs-personnages, davantage que comme des stars. En effet, peu soucieux de leur image d’acteur, ils s’immergent dans la création de leurs personnages et figurent la relation complexe entre Moi social et Moi créateur. A travers l’analyse détaillée de leurs performances dans des genres différents, il semble que la comédie et les drames sentimentaux permettent aux acteurs de créer des performances adoucies, et de libérer leur imaginaire d’acteur-auteur. / Harvey Keitel and Rod Steiger’s performances reinvent the models of traditional masculinity and shed a new light on tough-guy roles in American film. Their emotional performances, their psycho-physical approach and their focus on objectives and circumstances open up new perspectives on gender and genre and lead to a deconstruction of the standard notions of genre. Keitel has become an iconic actor of independent cinema, by helping new directors and actors; and stands out with intense performances, which explore the darkest sides of humanity. Steiger excels in showing solitude, ambiguity and ambivalence, and acts various parts, such as Napoleon, Mussolini or Al Capone. Both actors study the American interpretation of Stanislavsky’s Method, and choose to become character-actors, rather than stars. Indeed, their inner acting primarily relies on the creation of a character, keeping in mind the complex relationship between Moi social and Moi créateur, and leaving aside their concern for their own image as actors. Through the detailed analysis of their performances in different genre movies, it comes to light that comedy, romance and drama allow the actors to free their performance from masculine stereotypes and to express their imagination as auteurs.

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Thesis (M.S.)--University of Wisconsin--Madison, 1964. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 121-128).

Made available in DSpace on 2015-05-14T16:52:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-11-28Bitstream added on 2015-05-14T16:59:41Z : No. of bitstreams: 1 000823788.pdf: 2258273 bytes, checksum: a752c5d705ea91bb4451c45e2db8b5f7 (MD5) / A economia mundial vivencia um período de recessão, em que há baixo dinamismo e crescimento insignificante da atividade produtiva. Tal cenário é proveniente da crise financeira global de 2008, que em decorrência da configuração do sistema financeiro internacional, se espalhou de forma sistêmica para o lado real da economia mundial. Além de suas especificidades, e com exceção de seu escopo e sua gravidade, a presente crise econômica não se difere das últimas crises que atingiram o globo nos últimos trinta anos. Decorrente da junção de dois capitais altamente especulativos, o capital financeiro e o capital imobiliário, essa crise tem origem na luta incessante do capital em buscar alternativas de valorização dados os limites inerentes à sua natureza, ou seja, ao tentar evitar que o capital passe por períodos de desvalorizações (crise), surgem mecanismos alternativos que alongam e adiam esse destino, mas que ao mesmo tempo atuam no sentido de elevar a gravidade e a complexidade dessas crises. Assim sendo, o objetivo do presente trabalho é interpretar a crise econômica atual através da perspectiva marxista de David Harvey e de seu arcabouço teórico, tentando esclarecer e identificar sua origem e suas consequências para a ordem econômica vigente e para o atual padrão de desenvolvimento / The world economy experiences a recession, where there are low dynamism and insignificant growth of productive activity. This scenario comes from the global financial crisis of 2008, as a result of the international financial system configuration, and spread systemically to the real side of the global economy. In addition to its specificities, and with the exception of its scope and severity, this economic crisis is not different from past crises that hit the globe over the past thirty years. Resulting from fusion of two highly speculative capital, financial capital and real estate capital, this crisis originated in the incessant struggle of capital to seek alternative for its appreciation given the limitations inherent in their nature, in other words, to try to avoid capital depreciation periods (crisis), alternative mechanisms arise that stretch and delay this fate, but at the same time act to raise the severity and complexity of these crises. Therefore, the aim of this work is to interpret the current economic crisis through the perspective of marxist David Harvey and his theory, trying to clarify and identify its origin and its implications for the current economic order and the current pattern of development