Once a source of environmental concern, mine tailings could now contribute to the fight against climate change. Greg Dipple and team are discovering how mines can potentially ofset their own emissions.

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'.

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-04-09T18:44:02Z No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-17T21:21:39Z (GMT) No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Made available in DSpace on 2018-04-17T21:21:39Z (GMT). No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) Previous issue date: 2018-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Essa pesquisa tem como objetivo principal investigar a composição do suspense narrativo – suas origens e implicações – a partir da análise das obras de Edgar Allan Poe, G.K. Chesterton e Alfred Hitchcock. Tendo como base o levantamento feito na obra de dois grandes nomes da crime-fiction literária e uma análise na obra cinematográfica do ‘mestre do suspense’, definiu-se os contos The Black Cat, de Poe, e The Honour of Israel Gow, de Chesterton, além do filme The Lodger, de Hitchcock, como modelos de narrativas paradigmáticas no conjunto das obras de cada um dos artistas em questão. Desse modo, com base nas análises narrativas e no aporte teórico acerca do suspense, colocar-se-á o embate entre culpa e inocência como elemento comum às narrativas dos três autores; bem como será discutida a hipótese de que, a partir da convergência entre elementos peculiares à obra de Poe e os particulares à obra de Chesterton, Hitchcock conseguiu criar um suspense moral bastante característico ao seu estilo de crime-fiction cinematográfico. Ou seja, como base numa simples ligação inicial – a crime-fiction – essa pesquisa pretende levantar o máximo de informações e conexões nos contos e no filme em análise a fim de compreender o suspense e o medo originados no conflito entre culpa e inocência, tanto na literatura quanto no cinema. / This research has as main objective investigating the composition of suspense narratives – their origins and implications – from the analysis of the works of Edgar Allan Poe, G.K. Chesterton and Alfred Hitchcock. On the basis of the survey on the works of two great names in literary crime-fiction and the examination on the filmography of ‘the master of suspense’: Poe’s Black Cat, Chesterton’s The Honor of Israel Gow and Hitchcock's The Lodger are defined as models of paradigmatic narratives in the oeuvres of each artist in question. Thus, based on the narrative analysis and the theoretical support about suspense, the contrast between blame and innocence will be assigned as a common element to the narratives of the three authors; as well as it will be discussed the hypothesis that Hitchcock created a moral suspense, quite characteristic to his cinema style of crime-fiction, from the convergence between peculiar elements of Poe’s work and odd elements of Chesterton’s work. In other words, based on a simple initial connection – the crime-fiction – this research intends to collect the maximum information on the stories under analysis in order to comprehend the suspense and the fear originated in the conflict between guilt and innocence, in both arts (cinema and literature).

The purpose of this thesis is to contribute to the Brazilian literature on the innovative behavior of small and medium enterprises. The focus is the sectoral analysis to identify if the Brazilian manufacturing SMEs conform to sectoral patterns and if these patterns influence the innovative activities of the firms. This empirical work is composed of three different stages. The first stage refers to the investigation by size and sector using descriptive analysis of the innovative activities of the Brazilian SMEs by labor employed (for PINTEC-2008 and PINTEC-2011) and by sectoral patterns (for PINTEC-2008), according to Pavitt´s taxonomy. The second stage made use of a nonparametric methodology applied to the PINTEC-2008´s microdata to distinguish sectoral patterns for SMEs identifying if they influence the innovative behavior of small and medium firms and at last if Pavitt´s taxonomy is applicable. The third stage drew upon the logistic regression method applied to the PINTEC´s microdata for the period of 2006 to 2008 and 2009 to 2011, to verify if the sectoral technological patterns are significant determinants of the SMEs´ innovative process. That was analyzed for different types of innovative activities, such as: innovative firms, product innovators, process innovators, product and process innovators, highly innovative firms, organizational innovators and marketing innovators. Moreover, identifying if these influences differ from those affecting big firms. The results obtained reveal that sectoral dynamics are relevant to the innovative behavior of SMEs, similarly to what happens to large companies. / Essa Tese visa contribuir para a literatura brasileira sobre o comportamento inovativo das pequenas e médias empresas. O enfoque é a análise setorial, com o intuito de identificar se as pequenas e médias empresas manufatureiras brasileiras conformam padrões setoriais, e se esses padrões influenciam a atividade inovativa destas empresas. Trata-se de um estudo empírico dividido em três etapas. Na primeira etapa procedeu-se à uma análise por porte e setor, que exibiu uma descrição da atividade inovativa por pessoal ocupado (para PINTEC-2008 e PINTEC-2011) e por padrão setorial (PINTEC- 2008), conforme a taxonomia de Pavitt. Na segunda etapa, aplicou-se uma análise não paramétrica sobre os microdados da PINTEC-2008, com o objetivo de delinear os padrões setoriais existentes para as pequenas e médias empresas e verificar se exercem influência sobre o comportamento inovativo das pequenas e médias empresas e, por fim, se a taxonomia de Pavitt (1984) é aplicável. Na terceira etapa, aplicou-se a metodologia de regressão logística aos microdados da PINTEC, para os triênios 2006- 2008 e 2009-2011, buscando identificar se as trajetórias tecnológicas setoriais são fatores significativos para a atividade inovativa das pequenas e médias empresas. Foram analisados diferentes tipos de inovação: inovação em produto e/ou processo, inovação em produto, inovação em processo, inovação em ambos, produto e processo, altamente inovadoras, inovadoras organizacionais e em marketing. Além disso, avaliou-se se estas influências diferem das que impactam a inovatividade das grandes empresas. Os resultados obtidos apontam que a dinâmica setorial é relevante para o comportamento inovativo das empresas de pequeno e médio porte, à semelhança do que ocorre com as grandes empresas. / Doutor em Economia

This thesis focuses on the Theatresports as a general category of improvisational theatre. Theoretically analyses their structure in terms of theatre studies and interprets the principles of this specific approach to theatre production, deals with their history and development, also is trying to establish a suitable theoretical and conceptual apparatus for them. It also reflects the decade of work of Theatresports in the Czech Republic, summarizes their characteristics and places them in context with other selected speeches theatrical improvisation on the Czech scene. Keywords: Theatresports, Keith Johnstone, improvisational theatre, improvisation, contemporary Czech theatre, Czech improvisational League

In this project I identify the pedagogical techniques, philosophy and legacy of Raymond Crisara. I examine how his pedagogical philosophy led to Crisara's personal success as a teacher and to his students' success in their performing and teaching careers. In much the same way that Ernest Williams's legacy has been passed on to his students, Crisara's legacy is now being handed down. I have examined Crisara's pedagogical concepts and philosophy through the eyes of four former students: Dr. Todd Hastings (Professor, Pittsburg State University), Billy Hunter (Principal Trumpet, Metropolitan Opera Orchestra), Dr. Gary Mortenson (Dean of the School of Music, Baylor University) and Keith Winking (Professor, Texas State University) as well as from transcripts of interviews Crisara gave. Crisara extended and modified William's pedagogy through the use of a multitude of étude methods. This modification and Crisara's experience as a leading New York freelance musician greatly influenced the teaching and success of the four subjects I interviewed. While these teachers have adopted Crisara's pedagogy and philosophy largely unchanged, I found that they modified his pedagogy slightly through the use of added teaching materials never used in Crisara's career or teaching studio.

Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer.

The purpose of my thesis is to explore and assess recent efforts by Direct Reference Theorists to explain the phenomenon of empty names. Direct Reference theory is, roughly, the theory that the meaning of a singular term (proper name, demonstrative, etc.) is simply its referent. Certain sentences, such as negative existentials ("Santa does not exist"), and sentences in contexts of fiction ("Holmes lived on Baker Street"), present the following challenge to DR Theory: Given that the semantic value of a name is simply its referent, how are we to explain the significance and truth-evaluability of such sentences? There have been various approaches DR Theorists have taken to address this problem, including the Pragmatic Strategy, Pretense Theory, Abstract Object Theory, and the Metalinguistic Strategy. All of these views are analyzed and assessed according to their various strengths and weaknesses. It is concluded that, overall, a Metalinguistic Strategy, supplemented by the notion of pretense, best deals with negative existentials and normal-subject predicate occurrences of empty names, Abstract Object Theory best deals with empty names in meta-fictional contexts, and Pretense Theory best deals with empty names in object-fictional contexts.

No description available.