Thesis (M.A.)--Trinity Evangelical Divinity School, 2005. / Abstract. Includes bibliographical references (leaves 198-201).

Thesis (M.A.)--Associated Mennonite Biblical Seminary, 2005. / Abstract. Includes bibliographical references (leaves 167-170).

Thesis (M.S.)--Northwestern University, 1934. / Includes bibliographical references (leaves [68-71]).

Thesis (M.A.)--Trinity Evangelical Divinity School, 2005. / Abstract. Includes bibliographical references (leaves 198-201).

Thesis (Th. M.)--Dallas Theological Seminary, 2005. / Includes bibliographical references (leaves [63]-69).

Thesis (M.A.)--Associated Mennonite Biblical Seminary, 2005. / Abstract. Includes bibliographical references (leaves 167-170).

Truth and falsehood, questions and answers, construction and deconstruction; most things come in dual pairs. Duality is a mirror that reveals the new from the old via opposition. This idea appears pervasively in logic, where duality inverts "true" with "false" and "and" with "or." However, even though programming languages are closely connected to logics, this kind of strong duality is not so apparent in practice. Sum types (disjoint tagged unions) and product types (structures) are dual concepts, but in the realm of programming, natural biases obscure their duality. To better understand the role of duality in programming, we shift our perspective. Our approach is based on the Curry-Howard isomorphism which says that programs following a specification are the same as proofs for mathematical theorems. This thesis explores Gentzen's sequent calculus, a logic steeped in duality, as a model for computational duality. By applying the Curry-Howard isomorphism to the sequent calculus, we get a language that combines dual programming concepts as equal opposites: data types found in functional languages are dual to co-data types (interface-based objects) found in object-oriented languages, control flow is dual to information flow, induction is dual to co-induction. This gives a duality-based semantics for reasoning about programs via orthogonality: checking safety and correctness based on a comprehensive test suite. We use the language of the sequent calculus to apply ideas from logic to issues relevant to program compilation. The idea of logical polarity reveals a symmetric basis of primitive programming constructs that can faithfully represent all user-defined data and co-data types. We reflect the lessons learned back into a core language for functional languages, at the cost of symmetry, with the relationship between the sequent calculus and natural deduction. This relationship lets us derive a pure lambda calculus with user-defined data and co-data which we further extend by bringing out the implicit control-flow in functional programs. Explicit control-flow lets us share and name control the same way we share and name data, enabling a direct representation of join points, which are essential for tractable optimization and compilation.

Made available in DSpace on 2015-03-18T02:01:17Z (GMT). No. of bitstreams: 1 000466516-Texto+Completo-0.pdf: 3482012 bytes, checksum: 54cfbb5b8db1506786f5332e5861052b (MD5) Previous issue date: 2015 / The present work has as objective to comprehend fans’ appropriations and reframing (Jenkins, Hills, Jenson) of the character Cthulhu, Howard Phillips Lovecraft’s creation, in the context of cyberculture (Lévy, Manovich, Castells, Santaella). Lovecraft, born in Providence, United States, lived between 1890 and 1937, and wrote short stories and poems on the fantastic genre of literature. His creations survived time, being modified and reinterpreted in different entertainment spheres and, in cyberculture, appropriated by fans in large scale around the world. By the analysis of posts and conversations in the page “Cthulhu”, on Facebook, it was objectified to comprehend who is the fans’ Cthulhu. In addition, it was aimed to investigate what would the differences be between these reframings and Lovecraft’s short story, “The Call of Cthulhu”, in a context where the new media and the Social Network Websites amplify and facilitate content’s production methods and its propagation among the fandom. The methodologies chosen were the documental analysis and the conversation analysis in social media, being done together and later on related with the theoretical approaches chosen. Through the research, the character, before a terrible and irrational monster, gained from the fans personality, human traits, merged with memes and transcended its purpose beyond the original short story – destroying humanity -, becoming a socializing creature. / O presente trabalho tem por objetivo compreender as apropriações e ressignificações de fãs (Jenkins, Hills, Jenson) acerca do personagem Cthulhu, criação de Howard Phillips Lovecraft, no contexto da cibercultura (Lévy, Manovich, Castells, Santaella). Lovecraft, nascido em Providence, Estados Unidos, viveu entre 1890 e 1937, e escreveu contos e poemas do gênero da literatura fantástica. Suas criações sobreviveram ao tempo, sendo modificadas e reinterpretadas em diversas esferas do entretenimento e, na cibercultura, apropriadas pelos fãs em grande escala ao redor do mundo. Por meio da análise de postagens e conversações dentro da página “Cthulhu”, no Facebook, objetivou-se compreender quem é o Cthulhu dos fãs. Também, desejou-se investigar quais seriam as diferenças entre essas ressignificações para o conto de Lovecraft, “O Chamado de Cthulhu”, em um contexto onde as novas mídias e os Sites de Redes Sociais amplificam e facilitam as formas de produção e difusão de conteúdo entre o fandom. As metodologias escolhidas foram a análise documental e a análise de conversação em redes sociais, sendo realizadas em conjunto e relacionadas posteriormente com os aportes teóricos escolhidos. Por meio da pesquisa constatou-se que o personagem, antes um monstro temível e irracional, ganhou dos fãs personalidade, traços humanos, fundiu-se a memes e transcendeu seu propósito além do conto original – o de destruir a humanidade -, tornando-se uma criatura socializante.

The study has two major purposes: 1. To present a narrative account of the life and speaking career of Hon. Howard C. Green, particularly during those periods when he spoke on behalf of significant issues. 2. To analyze a select number of speeches delivered by Mr. Green in the Canadian House of Commons utilizing Cicero's "Five Canons of Rhetoric" as a unifying framework. All-over sources of information included personal interviews with Mr. Green and others, personal papers, relevant speeches, and finally, newspapers, magazines, manuscripts and historical text material. / Education, Faculty of / Graduate

In 1939, during his studies at the Eastman School of Music, John La Montaine (1920-2013) composed a Scherzo for four trombones. The Scherzo was revised more than 60 years later, becoming the third movement of a three-movement trombone quartet completed in 2001. Interestingly, the same Scherzo subsequently appeared in two of his later works: first the final movement of his Piano Concerto No. 4 Op. 59 (1989) and 12 years later as the final movement of a three-movement Trombone Quartet. The thesis presents a detailed account of the compositional history of the Scherzo, its connection to the first two movements, and a performance edition of the Scherzo based on my collaboration with the composer between for five years from 2003 to 2007.