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In Swift's works, both heroes and madmen are characterized by supra-normal aspiration, imagination, individuality, and pride, and the mad hero becomes an effective emblem for the chaos arising when individual vision challenges traditional authority in religion, politics, and literature. Swift's view of madness as the willful perversion of reason tends to be traditional, though his sense of its pervasiveness creates a subversive skepticism. Consistently throughout his works, Swift posits conscience as the only safeguard against the madness of pride. Swift views the traditional hero as subversive, typically portraying him as mad while presenting the sane man as unheroic. As the Tale-teller argues, the traditonal hero is a successful madman. Swift's later works demonstrate that madness and heroism often coincide because of the mutually reinforcing relationship between power and ego, and he asserts that the will to power, manifested in the heroic imposition of one's will upon others, is a form of madness. As an alternative to the asocial and amoral traditional hero, Swift promotes a moderate hero in the figures of the Church of England Man, the Examiner, and the Drapier: the one just man, motivated by Roman and Christian virtue, in a mad society. But even the vir bonus remains susceptible to challenges of authority, for in a mad and corrupt society his singular vision cannot appeal to common sense. Moreover, if he becomes powerful, he risks madness, and if he retreats from madness, he becomes impotent. As a consequence of this double bind, the satirist himself suffers a profound alienation. Swift recognizes that by engaging in the controversies of his age, he himself becomes liable to charges of the madness of pride. Even as he harangues the world, his recognition of the heroic conceit in establishing himself as satirist is evident in the self-satire of A Modest Proposal and the verses on his death. Similarly, the self-portraits in his poetry and Gulliver's Travels demonstrate his conscience at work as he satirizes his own indignation and reforming urges, striving thereby to maintain a modicum of humility and thus sanity, and, in laughing with the reader, striving to maintain common sense as well.

A disponibilização de uma tecnologia de desenvolvimento recente, denominada neste trabalho de \"tecnologia de modelagem tridimensional física computadorizada\", ofereceu novos recursos para a obtenção de representações utilizadas no processo de desenvolvimento de projetos de produtos (modelos), que anteriormente era realizado utilizando-se exclusivamente procedimentos manuais de caráter artesanal. No entanto, existe uma diversidade de processos e de equipamentos que a utilizam, variando entre alguns simples e baratos, que podem obter objetos com algumas restrições, como de geometria, acabamento e resistência, e outros, extremamente complexos, que podem fornecer objetos com características excepcionais. Por outro lado, são utilizados diversos tipos de modelos ao longo do processo de projeto: alguns muito simples, empregados nas fases iniciais, e outros de maior complexidade, que representam o produto nas fases finais de seu desenvolvimento, entre os quais se encontra o modelo de aparência, que apresenta grande potencial de se beneficiar, em seu processo de confecção, das características particulares da referida tecnologia. O presente trabalho tem, portanto, o objetivo de apresentar um quadro detalhado da disponibilidade da tecnologia de modelagem tridimensional física computadorizada, particularmente no contexto brasileiro, a partir de pesquisa realizada com fabricantes, representantes comerciais, institutos de pesquisa e escolas de design, e de descrever as características formais e construtivas do modelo de aparência a partir de pesquisa bibliográfica e observações, de forma a identificar processos, equipamentos e procedimentos que podem ser adequados para atender à demanda por esse tipo de modelo em disciplinas de projeto de produto em escolas de design. / The availability of a new development technology, which in this text is referred to as \"computer-aided technology of physical three-dimensional modeling\", provides new resources for making representations used in product design development process (models), which previously, was almost exclusively completed through manual procedures. However, there are various types of processes and equipment that that technology which range from simple and inexpensive, that can obtain objects with some restrictions, such as geometry, finishing and resistance, and others that are extremely complex, that can provide objects with exceptional features. On the other hand, several types of models are used throughout the design process: some very simple, utilized in the early stages, and others of greater complexity, which represents the product in the final stages of its development, such as the mock-ups that have the greatest potential to benefit from the special characteristics of the technology previously mentioned. The objective of this research is to present a detailed picture of what is available for computerized three-dimensional modeling technology focused within the context of Brazil, based on research carried out with manufacturers, commercial representatives, institutes, research and design schools and describe the formal and constructive characteristics of the mock-ups, based on bibliographic research and observations, in order to identify processes, equipment and procedures that may be appropriate to meet the demand for this type of model in design schools.

Heart failure (HF) affects an estimated 5.8 million Americans, accounting for near 250,000 deaths each year. With shortages in available donor hearts, mechanical circulatory support (MCS) has emerged as a life-saving treatment for advanced stage HF. With growth in MCS use, a clinical and developmental need has emerged for a standard characterization and evaluation platform that may be utilized for inter-device comparison and system training. The goal of this research was to harness SynCardia's total artificial heart (TAH) to meet this need. We first sought to characterize the TAH in modern physiological terms - i.e. hemodynamics and pressure-volume loops. We then developed a model of HF using the TAH and mock circulatory system operating in a reduced output mode. We demonstrated that MCS devices could be incorporated and evaluated within the HF model. Finally, we characterized the operational envelope of SynCardia's Freedom (portable), Driver operating against varying loading conditions. Our results describe the hemodynamic envelope of the TAH. Uniquely, the TAH was found not to operate with time-varying elastance, to be insensitive to variations in afterload up to at least 135 mmHg mean aortic pressure, and exhibit Starling-like behavior. After transitioning the setup to mimic heart failure conditions, left atrial pressure and left ventricular pressure were noted to be elevated, aortic flow was reduced, sensitivity to afterload was increased, and Starling-like behavior was blunted, consistent with human heart failure. The system was then configured to allow ready addition of ventricular assist devices, which upon placement in the flow circuit resulted in restoration of hemodynamics to normal. Lastly, we demonstrated that the Freedom Driver is capable of overcoming systolic pressures of 200 mmHg as an upper driving limit. Understanding the physiology and hemodynamics of MCS devices is vital for proper use, future device development, and operator training. Characterization of the TAH affords insight into the functional parameters that govern artificial heart behavior providing perspective on differences compared to the human heart. The use of the system as a heart failure model has the potential to serve as a valuable research and teaching tool to foster safe MCS device use.

Thesis (M.A.)--Carleton University, 1999. / Also available in electronic format on the Internet.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2010 Jun 1.

Interiors are often dealing with the notion of front and back. Physically, with walls facing the occupant and concealing a “behind”, a backside, perhaps an adjacent room. But also, in organization; “in the back of the building” meaning the furthest away from the entrance or from the street, the public. There is also a variety of interiors that are backsides them self. Spaces that, in contrast to fronts or “primary” spaces not are intended to be shown perhaps because they are occupied by functions, or people that for some reason are desired to be hidden. The idea of a backside, though, whether considered good or bad, what belongs there and not, has shifted over time. I believe that this is a truly cultural issue, governed by social constructions that stabilize and become customs in the fabrication of interiors. In this project have I studied and reworked the information from a few domestic interiors. Through the methods of inverting and full-scale construction, have I investigated what a “backside of an interior” is, what it does and how the treatment of it has changed over time. In my studies, I have found that a contemporary apartment interior attempts to seamlessly exclude the “backside”, just like the parlours of a 100 years old bourgeoise palace. But in the contemporary apartment, it is because of praxis and standardization, and not because of what ideas govern the design. By building a full-scale part of an actual contemporary apartment - where I invert and reorganize the order of how it would have been costume - the praxis is brought to light and questioned.