The biographical details of the 7828 individuals listed in the biographical dictionary known as the Ta'rikh Baghdad were entered in a database and used to create a profile of the hadith community of Baghdad. The thesis explains how the database was constructed and shows how the data can be used. Evidence derived from the many references to colleagues and relatives in the biographies made it possible to date most of the undated biographies, and to construct a chronological framework within which information on the origins, occupations, tribes and other personal attributes of the Khatib's subjects could be analysed. Changes in the frequency of these attributes over time were related to conversion rates, immigration, and the popular appeal of hadith study. The thesis also demonstrates the usefulness of the fortuitously dated topographical references found in the biographies. These were used with maps to show changes in residence patterns over the 320 years covered by the Ta'rikh Baghdad.

This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of this subgenre outside of the dominant modes of inquiry by placing an emphasis upon philosophies of sex, gender and corporeality, rather than focussing on psychodynamic approaches. Thirdly, I consider not only what these theories may do for the study of horror films, but what spaces of inquiry horror films may open up within these philosophical areas. To do this, I focus on six broad streams: the current limitations and opportunities in the field of horror scholarship, which I augment with a discussion of women’s bodies, houses and spatiality; the relationship between normative heterosexuality and the twin figures of the chaste virgin and the voracious vagina dentata; the representation and expression of female subjectivity in horror films that feature pregnancy and abortion; the manner in which reproductive technology is bound up within hegemonic constructions of gender and power, as is evidenced by the figure of the ‘mad scientist’; the way that discourses of motherhood and maternity in horror films shift over time, but nonetheless result in the demonisation of the mother; and the theoretical and corporeal possibilities opened up through Deleuze and Guattari’s model of schizoanalysis, with specific regard to the 'Alien' films. As such, this thesis makes a unique contribution to the study of women in horror film, while also advocating for an expansion of the theoretical repertoire available to the horror scholar.

The use of magnetometers combined with unmanned aerial vehicles (UAVs) is an emerging market for commercial and military applications. This study presents the methodology used to magnetically characterize a novel fixed-wing vertical take-off and landing (VTOL) UAV. The most challenging aspect of integrating magnetometers on manned or unmanned aircraft is minimizing the amount of magnetic noise generated by the aircraft’s onboard components. As magnetometer technology has improved in recent years magnetometer payloads have decreased in size. As a result, there has been an increase in opportunities to employ small to medium UAV with magnetometer applications. However, in comparison to manned aviation, small UAVs have smaller distance scales between sources of interference and sensors. Therefore, more robust magnetic characterization techniques are required specifically for UAVs. This characterization determined the most suitable position for the magnetometer payload by evaluating the aircraft’s static-field magnetic signature. For each aircraft component, the permanent and induced magnetic dipole moment characteristics were determined experimentally. These dipole characteristics were used to build three dimensional magnetic models of the aircraft. By assembling the dipoles in 3D space, analytical and numerical static-field solutions were obtained using MATLAB computational and COMSOL finite element analysis frameworks. Finally, Tolles and Lawson aeromagnetic compensation coefficients were computed and compared to evaluate the maneuver noise for various payload locations. The magnetic models were used to study the sensitivity of the aircraft configuration and to simultaneously predict the effects at potential sensor locations. The study concluded by predicting that a wingtip location was the area of lowest magnetic interference. / Graduate

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-06T15:23:17Z No. of bitstreams: 1 cristianesilvatomaz.pdf: 695715 bytes, checksum: eb72fa82dee47b8e70abb444ed0179d8 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-07T12:13:19Z (GMT) No. of bitstreams: 1 cristianesilvatomaz.pdf: 695715 bytes, checksum: eb72fa82dee47b8e70abb444ed0179d8 (MD5) / Made available in DSpace on 2016-10-07T12:13:19Z (GMT). No. of bitstreams: 1 cristianesilvatomaz.pdf: 695715 bytes, checksum: eb72fa82dee47b8e70abb444ed0179d8 (MD5) Previous issue date: 2009-09-04 / Esta dissertação analisa a concepção de cidadania defendida pela Luta Antimanicomial no Brasil, desde seu surgimento, em 1987, com o II Congresso Nacional de Trabalhadores em Saúde Mental, até os últimos encontros dos movimentos que compõem a Luta, realizados em 2007. Procurou-se abordar a Luta Antimanicomial numa perspectiva crítico-dialética, percorrendo-se um caminho teórico analítico a partir da Pesquisa Bibliográfica e da Análise Documental, no qual, primeiramente abordaram-se os seguintes temas: a Modernidade, enquanto o contexto sócio histórico de emergência da cidadania e do desenvolvimento de suas distintas concepções, dentre elas a liberal, a marxista e a pós-moderna; o Pós-modernismo; os novos movimentos sociais e os limites da política de identidades; a trajetória sócio-histórica da Luta Antimanicomial; as concepções teórico-políticas que influenciaram e influenciam o movimento; e as várias concepções referentes à cidadania e à “cidadania do louco”. A análise documental deu-se a partir dos relatórios dos encontros dos movimentos que compõem a Luta Antimanicomial. A partir de um balanço analítico entre as concepções de cidadania adotadas pelos intelectuais e pela Luta Antimanicomial - em relação às concepções de cidadania liberal, pós-moderna e marxista - foi possível identificar a mudança na concepção de cidadania presente na Luta ao longo desses 20 anos de militância, bem como sua tergiversação à concepção inicial que norteava a Luta. / This essay has analyzed the citizenship conception defended by the Antimadhouse Struggle in Brazil, since its beginning in 1987, with the 2nd National Congress of the Mental Health Workers, until the late meetings of the movements that compose the Struggle, realized in 2007. It has been approached the Antimadhouse Struggle in a critical-dialectical perspective, covering a theoretical analytical way from the Bibliographical Research and the Documental Analysis, in which, firstly it has been approached the following themes: Modernity, while a social historical context of citizenship emergency and of the development of its distinct conceptions, among them the liberal, the Marxist and the post-modern ones; the Post-modernism; the new social movements and the limits of the identity politics; the social historical trajectory of the Antimadhouse Struggle; the theoretical-political conceptions that have influenced and influence the movement; and the several conceptions referring to citizenship and “mad people citizenship”. The Documental Analysis was done from the reports on the meetings of the movements that compose the Antimadhouse Struggle. From an analytical balance among the citizenship conceptions adopted by intellectuals and by the Antimadhouse Struggle – in relation to the liberal, post-modern and Marxist citizenship conceptions, it has been possible to identify the change on the citizenship conception presented by the Struggle along these 20 years of militancy, as well as its tergiversation towards the initial conception that led the Struggle.

No description available.

Though feminist scholars criticize Helen Fielding’s Bridget Jones series as they feel that Bridget’s diary minimizes her work, close analysis reveals that Bridget’s work is equally important to her as her relationships. The novels charts Bridget’s linear progression toward autonomy and creative freedom, and her work mistakes function as ironic commentary on the creative industries. Though she critiques the entertainment industry, she validates its accessibility to a variety of audiences, particularly through adaptations. Throughout the series, Bridget documents her own life into her diary, and, in the final two novels, adapts her past diaries for a new purpose. The diary form departs from Austen’s more distanced narrator as well as from the traditional scholarship on the diary, which dictates the diary as a way to work through trauma. Fielding alters the diary form, and through her use of interiority, creates a complex protagonist whose success does not make her inaccessible.

<p>In my dissertation, I advance an interpretive perspective that emerges from the politics of the Mad Movement (also known as the Psychiatric Consumer/Survivor/Ex-patient Movement). This movement began in the 1970s in response to patient abuses in the psychiatric system and continues today in various forms. I argue that literary studies, which often reads madness in the reductive terms of psychiatric diagnosis or which renders madness as metaphor, would benefit from mad perspectives; likewise, literary studies has much to offer the nascent field of Mad(ness) Studies in terms of methods for locating the discursive conditions of madness’ emergence. Drawing on Foucault’s work on madness and biopolitics; poststructuralist feminism; Disability Studies; and Mad Movement writings, I concentrate on texts which narrate intersecting experiences of madness, resistance, community and identity: Mary Jane Ward’s The Snake Pit (1947), Sylvia Plath’s The Bell Jar (1963), Susanna Kaysen’s Girl, Interrupted (1994), Claire Allen’s Poppy Shakespeare (2007), Liz Kettle’s Broken Biscuits (2007), Bobby Baker’s Diary Drawings: Mental Illness and Me (2010), Persimmon Blackbridge’s Prozac Highway (2000), Joan Riley’s The Unbelonging (1985) and Helen Oyeyemi’s The Icarus Girl (2004). I further explore mad reading practices through my reading of a blog project I conducted for research purposes in which people with experience of the mental health system reviewed depictions of madness and mental health treatment in literature, film, popular culture and news media. In reading through a mad perspective, I postulate some of the material and ideological effects that establishing mad reading practices and communities might have. I consider how madness is gendered, and how it intersects with other aspects of embodiment such as race, class and sexuality; how narratives of madness elucidate the relationship between psychiatry and colonialism, patriarchy, eugenics and neoliberalism; and how they invite us to question the limits of reason, truth and subjectivity.</p> / Doctor of Philosophy (PhD)

Le metal extrême, tiré du heavy metal, demeure souvent pointé du doigt en raison de la musique et des sujets transgressifs le caractérisant et qui, a priori, ne communiquent qu’une violence décousue. Or, ces dernières années, plusieurs musicologues se sont intéressés au potentiel de la narratologie pour l’analyse de la musique populaire; la chanson est alors considérée comme un véritable récit, où les musiciens transmettent leur propre vision du monde. Dans ce mémoire, je propose donc une analyse musicologique et narratologique de quatre chansons dites transgressives tirées du metal extrême, soit « Mad Architect » (Septicflesh), « Her Ghost in the Fog » (Cradle of Filth), « When the Joyful Dead are Dancing » (Unexpect) et « Puritania » (Dimmu Borgir). Ces analyses permettront donc de mieux comprendre la structure narrative et musicale interne, ainsi que les différents codes esthétiques régissant ce répertoire. / Extreme metal, derived from heavy metal, remains often singled out because of the music and subjects viewed as transgressive and which, a priori, communicate a disjointed violence. However, in recent years, several musicologists have been interested in the potiential of narratology for the analysis of popular music; the song is then considered as a true narrative, where musicians communicate their own conception of the world. In this thesis, I propose to perform a musicological and narratological analysis of four songs known as transgressive and derived from extreme metal, namely “Mad Architect” (Septicflesh), “Her Ghost in the Fog” (Cradle of Filth) “When the Joyful Dead are Dancing” (Unexpect) and “Puritania” (Dimmu Borgir). These analyses will enable a better understanding of the internal musical structure and narrative, and the different aesthetic codes governing this repertoire.

No description available.

The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence.  The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items).   The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story. As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story.