Erik Butler’s predicates for vampirism apply in some degree to Nathaniel Hawthorne’s male protagonists who skulk in the margins of “The Birthmark,” The Scarlet Letter, and “The Minister’s Black Veil.” As metaphoric vampires who seek weak prey in order to manipulate power structures, these monomaniacal parasites assume paternalistic positions in order to control and manipulate their victims, and they disguise their exploitive and egotistic sides with idealistic and altruistic passions for science and religion. This thesis explores how Hawthorne’s protagonists’ corrupt and consuming spirits echo traditional vampiristic characteristics.

Ever since John Hooper (c.1500-1555), the future Bishop of Gloucester and Worcester, made his famous stand against wearing vestments that placed him in opposition to the leading English clergy, he has been branded in the history of the English Reformation by many as a renegade and a radical. However, this thesis presents Hooper as one who saw himself as a conformist who sought to create the reformed community he desired within the established political and religious customs of his day. To explore this idea, this thesis examines how Hooper imagined a Protestant community for the kingdom of England or elsewhere. It identifies what Hooper considered to be the sources of God’s authority in the community; how that authority was exercised through officials within the community and through godly laws, strong clerical preaching and a universal commitment to vocation. It examines how the people should respond to leaders who brought the successful introduction of Protestantism to their community. Hooper’s vision was advanced in a series of tracts and letters written in Zurich and shortly after his return to England (1547-1551). They were composed at a time when Hooper enjoyed the greatest freedom to articulate his ideas in the company of his mentor, Heinrich Bullinger (1504-1575), and refined through his tenure as a bishop in the Church of England. The reformed community that Hooper envisioned was one that was dependent upon a strong magistrate but also required the acceptance and participation of its members in fully embracing their own vocation and reform. Hooper strongly affirmed that leaders – both ecclesiastical and civil – had a duty to model their reformation in accordance with God’s Law, the Ten Commandments. He assumed that the people would abide by the authority of the Decalogue and practice the Protestant faith together. He also believed that living in such a community would usher in a period of peace and prosperity. Hooper’s zeal for reform was demonstrated by his belief that the Reformation required wholehearted embrace by everyone, but he was willing to operate within established English traditions, in order to see his Protestant beliefs realised within the community.

O Teste Hooper de Organização Visual (Visual Organization Test - VOT) foi publicado em 1958 e revisado em 1983. É um instrumento para avaliar a capacidade de organização visual dos estímulos, sendo sensível aos danos neurológicos. O teste é composto por 30 figuras de objetos comuns fragmentadas em duas a quatro partes, mostradas na forma de quebra-cabeças em cartões com fundo branco. Os itens são apresentados um a um para que o examinando diga o nome da figura que seria formada e se as partes do desenho fossem juntadas corretamente. O objetivo desta pesquisa foi realizar estudos psicométricos de padronização, validade e precisão do Teste Hooper para a cidade de São Paulo. Para isso, inicialmente foi investigada a existência de diferenças em relação às variáveis idade, sexo e escolaridade. A precisão foi avaliada por meio do reteste e pelo método das metades e a validade foi obtida pela correlação com os testes Figuras Complexas de Rey (Figura A), e os subtestes Cubos e Armar Objetos da Escala WAIS-III. Também foi feita a análise de itens para determinar a sua dificuldade. A amostra foi composta por 969 adultos de ambos os sexos, sendo 53,5% mulheres e 46,5% homens, com idades entre 18 e 82 anos, que foram subdivididos em seis subgrupos, e a escolaridade variou de ensino fundamental a superior. Os resultados da Análise de Variância indicaram a existência de diferenças significantes (p < 0,05) entre os sexos, as faixas etárias e os níveis de escolaridade, bem como em todas as interações entre essas três variáveis. Os testes Post Hoc de Tukey indicaram diferenças entre as médias dos três níveis de escolaridade, em agrupamento das faixas etárias em quatro conjuntos. Os testes t apontaram diferença entre os sexos apenas na faixa de 61 anos ou mais e para o nível de escolaridade superior, com pontuação maior para os homens. Foram estabelecidas normas em percentis em função da escolaridade e faixa etária para a amostra total e separadas para cada sexo, para o ensino superior e para as idades de 61 anos ou mais. A precisão pelo reteste evidenciou alta correlação (0,897) entre os resultados das duas aplicações. A precisão das metades entre itens pares e ímpares, corrigida pela fórmula de Spearman-Brown foi de 0,884. Para a validade com outros testes que avaliam a organização perceptiva visual as correlações foram significantes (entre 0,302 e 0,543). A análise da dificuldade dos itens mostrou a necessidade de sua reordenação em função da sua dificuldade e também a necessidade de rever os critérios de avaliação de alguns elementos, pois em determinados casos será necessário rever as respostas que são consideradas como de 1 ou 0,5 pontos. Propõe-se também uma nova ordem para a apresentação dos itens na aplicação. Assim, as normas estabelecidas nesta pesquisa, bem como os dados de precisão e de validade, podem permitir a utilização do Teste Hooper para a nossa população, fornecendo critérios seguros para auxiliar no diagnóstico de pacientes com queixas relativas a problemas neurológicos / The Hooper Visual Organization Test (VOT) was published in 1958 and reviewed in 1983. It is a device to evaluate the ability of visual stimuli organization, being sensitive to neural damages. The test is composed by 30 pictures of common objects separated into two to four pieces, presented in a puzzled way on white background cards. The items are presented one by one so that the examinee says the name of the picture that would be formed, if the parts of the drawing were gathered correctly. The aim of this research was to carry out psychometric studies of standardization, validity and reliability of Hooper Test for the city of São Paulo. Therefore it was initially investigated the existence of differences in relation to such variables as age, sex and school grading. The reliability was evaluated through a retest and the split-half method, and the validity was reached by the correlation to the tests: Complex Rey Pictures (Picture A) and subtests Cubes and Object Assembly of WAIS-III. Item analysis was also done to determine their difficulty. The sample was composed by 969 adults of both sexes, being (53.5%) women and (46.5%) men, with ages varying from 18 to 82 years old, who were divided in six subgroups, and school level ranging from elementary to college education. Results of the Variance Analysis indicated the existence of significant differences (p < 0.05) between sexes, ages and school level, as well as in all interactions among these three variables. The Tukey Pos Hoc tests indicated differences among the averages of the three levels of education, an assemblage of ages in four groups. The t tests pointed differences between the sexes only at 61 year old or more groups and for the high school level, men being superior. Norms were established in percentile according to the education level and age for the total sample and, separated for each sex, for high school and for the ages of 61 or more. The retest reliability indicated high correlation (0.897) among the results of the two test administrations. The split-half reliability between even and odd items, corrected by the Spearman-Brown formula was of 0.884. The validity coefficients with other tests that assess the visual perception organization were significant (between 0.302 and 0.543). The analysis of the items difficulty showed the need of reordering the items according to their difficulty, as well as the need of reviewing the scoring criteria of some items, because in some cases, it will be necessary to review the answers which are scored as 1 or 0.5 points. It is also proposed a new order to present the items in the test administration. Therefore the standards established in this research, as well as the reliability and the validity data may allow the use of Hooper Test for our population, providing safe criteria for assist in the diagnosis of patients with complaints related to neural diseases

Los textos de la presente edición de Cine Scrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web. El uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / ... llega a los oídos de una manera que no da tregua. Ese es uno de los principales recuerdos de la que debe ser una de las películas de terror más mentadas de toda la historia. Y su creador ha muerto hace poco. Justo cuando empezábamos a asimilar la partida de George A. Romero, ese gran creador del cine grotesco, se nos va otra pieza clave del gore. Es por eso que en CineScrúpulos hemos querido rendir homenaje a dos de nuestros directores más queridos en estas ediciones pequeñas de verano. Pero no vaya a pensarse que Hooper es un creador coherente que hilvanó a la perfección una obra que podría codearse con otros grandes del séptimo arte. Lamentablemente, quizás porque se trató de un chispazo, porque no contó con los recursos necesarios o porque simplemente la actividad cinematográfica se convirtió en una mera excusa que le permitía comer, la filmografía del buen Tobe está plagada de algunos plomazos insufribles y aventuras desteñidas en la pantalla chica. Sin embargo, eso no debe ser motivo para olvidar piezas claves que cualquier fanático del terror con dos dedos de frente debería haber visto y revisto mientras se relame con gusto. Ahí están The Texas chain saw massacre, Eaten alive, Poltergeist o Lifeforce para demostrarlo. Pero esta edición de CineScrúpulos también se engalana con un texto acerca de los acercamientos de Tim Burton al cine de invasión extraterrestre en esa oda a la exageración que es Marcianos al ataque. Y si con ello no basta, pues nos acercamos un poco a la televisión para dar cuenta de hasta qué punto David Fincher es capaz de mantener sus constantes estéticas durante sus aventuras en las series que llevan su firma. Todo está sazonado de tal manera que la edición número 16 de CineScrúpulos sea de tu agrado. Y debido a ciertos cambios en la estructura de los trabajos finales del curso, pero sobre todo gracias al enorme talento de los estudiantes del presente ciclo, tenemos material para más y hemos decidido publicar este verano dos ediciones de nuestra pequeña revista. De ese modo está todo lo que debe estar y tú no pierdes la oportunidad de deleitarte con la sana y amena lectura del equipo de redacción. Como si estuvieras a medianoche en tu casa y de pronto escucharas que el abuelo está con ganas de sentirse matarife mientras Leatherface estrena rostro nuevo y tú te preguntas dónde demonios dejaste el cadáver de la abuela. Ya sabes: lo más importante es la familia.

In the relatively low lying delta area west of Ogden, Utah several thousand acres of potentially productive lands have been seriously affected by the accumulation of soluble salts and the associated condition of excessive exchangeable sodium. As a part of the Weber Basin Project, much of this large area of undeveloped or only partially developed land is proposed for irrigation. Successful irrigation of these salt-affected lands, however, is dependent upon their reclamation and improvement.

Thesis (D.Phil.)--University of Oxford, 2008. / Supervisor: Professor Diarmaid MacCulloch. Bibliography: leaves 279-298.

This thesis offers an assessment of the Edwardian Reformation and its significance for the wider development of English Protestantism by examining the liturgical reforms of the period. The central question that this thesis grapples with is, how did Edwardian reformers apply their theological concept of the 'church' as an invisible spiritual body of believers to the task of reforming the visible temporal institution of Tudor England? The overarching argument of this study is that, in the eyes of the reformers, the formal liturgy of the Church of England, as defined by the Prayer Book, formed a nexus between the temporal and spiritual realms so that the invisible Church was given visible expression in public worship. This meant that Tudor men and women could actively participate in the spiritual communion of saints through the tangible experience of church services, especially through the sacraments and by observing the Sabbath. The examination of the relationship of mid-Tudor evangelical ecclesiology and liturgical reform presented in this thesis allows us to understand the Edwardian Church on its own terms. It challenges some long-held assumptions about the figures and events of the period, and their combined effect on later developments in English Protestantism, which continue to colour historiography. By taking a fresh approach to seemingly well-known texts, such as the Book of Common Prayer, this thesis argues that the relationship of ecclesiology and liturgical reform was a central feature of the Edwardian Reformation, an aspect of the period that has not been widely acknowledged in recent scholarship. A different ecclesiological theme is investigated through the lens of liturgical reform in each chapter to show how significant the doctrine of the church was to mid-Tudor reformers' goals in terms of ecclesiastical structure and practical ministry.

xx, 800 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Despite the immense popular and critical response given to the Harry Potter narrative and phenomenon, little has been written about the music for the Harry Potter films. I establish that the aesthetic differences that viewers perceive between the different Harry Potter films are largely due to the musical approaches of composers John Williams, Patrick Doyle, and Nicholas Hooper over the course of four director/composer collaborations for the first five films. This study provides a rare opportunity to examine the work of different composers for a continuing narrative. Moreover, when we explore how music is used in varied ways within the films, we see how each musical approach shapes film visuals into the narrative that the filmmakers sought to convey; when the music changes, the story changes. Music creates the geographic, cultural, and temporal landscapes that draw us in to Harry's 'muggle' and magical worlds. Music defines the way we perceive Harry's emotional experiences of love, joy, loss, and death, and also defines the philosophical perspectives on the nature of evil and its conquest. Sometimes, the music provides clues to the mystery long before visuals and dialogue address them, and musical relationships (with visuals and within the music itself) allow us to perceive the properties and powers of magic and humanity that may otherwise transpire unseen. Music also plays a role in the types of humor that are represented in the films--from socially-sanctioned transgressions, to macabre, to bawdy, deadpan, and caricature. However, while the core narrative themes in the films are closely related to the main themes in Rowling's original novels, an examination of how Rowling's descriptions of musical events compare with representations of these events in the films reveals that Rowling created a more nuanced social landscape (especially with regard to gender) than is re-contextualized with music in the films. / Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Mark Levy, Member, Music; Carl Bybee, Outside Member, Journalism and Communication