Indiana University-Purdue University Indianapolis (IUPUI) / While it is commonly acknowledged that the primal traumatic events of Hemingway’s time as an ambulance driver in Italy during World War I had a profound influence on his works of fiction, there has been relatively little exploration of the notion that the “working through” which occurred in the recovery from his own personal trauma manifests a complex and interwoven relationship with the writing process. This is certainly not unknown territory for scholars; when Hemingway first embarked upon the earliest fiction writing of his professional career, biographical research indicates he was once again enduring a traumatic experience of sorts. Yet formal trauma theory has rarely been applied to the study of Hemingway’s most intensely autobiographical short fiction. It is my contention that the “working through” of Hemingway’s writing process demonstrated in his published and unpublished Nick Adams stories was prompted by both his defining war-time trauma experience and his later, more private hardships.

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Made available in DSpace on 2016-04-26T18:17:57Z (GMT). No. of bitstreams: 1 Pablo Souza de Villavicencio.pdf: 2495837 bytes, checksum: 94b2ead88ea96de058248c6bc50793c5 (MD5) Previous issue date: 2009-05-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / By focusing on montage or editing that can characterize a method of temporal construction, this study confronts two medias that operate moving images, which suggests different ways of thinking about time. We will discuss the issue of time in the cinema and on video through a brief discrimination between the two languages and, as an example, we will analyze editing and images and sounds on the video Trovoada, in an effort to grasp the temporalities that are characteristic of video. Next, for purposes of comparison, we will analyze the movie Nick s movie (or Lightning Over Water), in which there is a dialogue between cinema and video. Before the digital age, the nature of the supports used in the cinema and in video was different. We understand that both are based in distinct procedures in producing images in movement and generate specific languages that show different temporalities. This difference can be understood as the matrix of the characteristics of the languages. Cinema was the first medium to operate moving images and, by doing this, it opened up broader questioning regarding time, insofar as it moves from a static image to an image that has a specific duration. Video, on the other hand, comes about as an electronic image in which there is effectively an inscription of time in the support itself, and which offers new editing techniques and procedures. We have considered, as a hypothesis, that there are different kinds of times and montages in cinema and video and that the two languages are differentiated by more specific constructions, or that their dialogue takes place in more hybrid constructions: the times articulated in both supports are distinct from each other and blend together. The main authors who have built the theoretical basis of this research are: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrecia D Alessio Ferrara, Christine Mello and Gilles Deleuze / Com foco na montagem ou edição que pode caracterizar um modo de construção temporal, este é um estudo de confronto entre dois meios que operam imagens em movimento, o que sugere modos diferentes de pensar o tempo. Abordamos a questão do tempo no cinema e no vídeo através de uma breve discriminação entre as duas linguagens, e, como exemplo, analisamos a edição e as imagens e sons no vídeo Trovoada, a fim de apreender as temporalidades características do vídeo. Em seguida e a título de comparação, analisamos o filme Um filme para Nick, no qual há um diálogo entre cinema e vídeo. Antes da era digital, a natureza dos suportes utilizados no cinema e no vídeo era diferente. Entendemos que ambos têm origem em procedimentos distintos na produção da imagem em movimento e geram linguagens específicas que evidenciam diferentes temporalidades. Essa diferença pode ser entendida como a matriz das características das linguagens. O cinema foi o primeiro meio a operar imagens em movimento e, com isso, abriu um questionamento maior sobre o tempo, na medida em que se passa da imagem estática para a imagem que possui determinada duração. Já o vídeo surge como imagem eletrônica em que efetivamente há uma inscrição do tempo no próprio suporte, e que traz novas técnicas e procedimentos de edição. Consideramos, como hipótese, que há diferentes tipos de tempos e montagens no cinema e no vídeo e que as duas linguagens se diferenciam em construções mais específicas, ou dialogam em construções mais híbridas: os tempos articulados nos dois suportes se distinguem e se mesclam. Os principais autores que constroem a fundamentação teórica desta pesquisa são: Arlindo Machado, Raymond Bellour, André Parente, Gene Youngblood, Philippe Dubois, Yvana Fechine, Lucrécia D Alessio Ferrara, Christine Mello e Gilles Deleuze

Hemingway claims in Green Hills of Africa that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." If this basic idea is applied to his own work, elements of Adventures of Huckleberry Finn appear in some of Hemingway's Nick Adams stories and his novel The Old Man and the Sea. All major characters and several minor characters in these works share the quality of natural innocence, composed of their primitivism, sensibility, and active morality. Hemingway's Nick, Santiago, and Manolin, and Twain's Huck Finn and Jim reflect their authors' similar backgrounds and experiences and themselves come from similar environments. These environments are directly related to their continued possession and expression of their natural innocence.

This study has conducted an analysis of how the monomyth has appeared in the fantasy story Diamond sword wooden sword part 1 and 2 by Nick Perumov. The study has confirmed that the story structure of the monomyth can be detected within several different characters progression. The study does not claim that all of the different stages within the monomyth can be identified within one single characters, but rather that there are several different characters that reinvents the world and the community. Speculations about why the authors story structure follows a ”divided” version of the hero’s journey are presented. The study also conducts an analysis of Perumovs construction of the society, male characters and female characters, which showed no distinct division in the construction of the two genders within the story. The construction of the society is discussed in light of the authors national upbringing, in this case the former Soviet Union, and briefly how the conflict in the world of Melin could be inspired by the Bolshevik revolution in Russia.

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This thesis investigates how site-specific art manifest itself in different ways, specifically in the biennial format. The focus is on the Luleå Biennale, one of Scandinavia's oldest biennales that returns every two years. Through a case study of four different works of art from two of the biennale's editions, two from the year 2018 and two from 2020, I want to broaden the understanding of the concept of site specificity and how to curate such an exhibition. The theory is based on Miwon Kwon's One Place to Another: Site-Specific Art and Locational identity (2004) and Nick Kaye's Site-Specific Art: Performance, Place and Documentation (2000) which deal with the concept of site specificity and its various expressions. The questions that arose were centered around research, audience and how art activates the place. Through my investigation, I came to the conclusion that all four artworks are strongly connected to their context, not only the context of the biennial but also the physical location they treated, and that a long process of research made the groundwork for this. One of the works was not newly produced for the place in which it was exhibited, but was realized by translating its original meaning to the place of the biennale with the help of curatorial work. I also come to the conclusion that the audience is of great importance in realizing these site-specific works of art exhibited in places that are otherwise not accessible to the public. The biennale opens up new places and memories. / Denna uppsats är en undersökning av hur platsspecifik konst kan uttrycka sig på olika sätt och specifikt hur det kan se ut i biennalformatet. Fokus ligger på Luleåbiennalen, en av Skandinaviens äldsta biennaler som återkommer vartannat år. Genom en fallstudie på fyra olika konstverk från två av biennalens utgåvor, två från år 2018 och två från 2020, vill jag vidga förståelsen för begreppet platsspecificitet och hur man curerar en sådan utställning. Den grundläggande teorin utgår från Miwon Kwons One Place to Another: Site-Specific Art and Locational identity (2004) och Nick Kayes Site-Specific Art: Performance, Place and Documentation (2000) som behandlar begreppet och dess olika uttryckssätt, vilket ledde till frågor kring research, publik och hur konsten aktiverar platsen. Genom min undersökning kommer jag fram till att alla fyra konstverk är starkt kopplade till sin kontext, inte endast kontexten av en biennal men även den fysiska platsen de behandlar, samt att en lång process av research har lagt grunden för detta. Ett av verken var inte tillverkade för platsen som den ställdes ut på men blev ändå realiserad genom att dess ursprungliga mening översattes till platsen för biennalen, detta med hjälp av curatoriskt arbete. Jag kommer även fram till att publiken utgör en viktig del för att realisera dessa platsspecifika konstverk som ställts ut på platser som annars inte är tillgängliga för allmänheten. Biennalen möjliggör besök av nya platser och minnen.

Der wichtigste exzitatorische Neurotransmitter Glutamat spielt eine grosse Rolle in der Gehirnentwicklung, wie neuronale Migration und Synaptogenese. Ob glutamaterge Stimulation für das Überleben entwickelnder Neuronen notwendig ist, war bislang jedoch unbekannt. Um zu untersuchen, ob eine Hemmung von Glutamatrezeptoren im unreifen Gehirn zu Neurodegeneration führt, wurden Ratten im Alter von 1 bis 31 Tagen für 24 Stunden mit dem N-Methyl-D-Aspartat-(NMDA) Glutamatrezeptorantagonisten Dizocilpin (MK801) behandelt. Die Dichte neuronaler Degeneration wurde mikroskopisch in Kupfer-Silber- und TUNEL- gefärbten Hirnschnittpräparaten ermittelt und Unterschiede mittels ANOVA analysiert (Signifikanzniveau p / The predominant excitatory neurotransmitter glutamate plays a major role in certain aspects of neural development. However, whether developing neurons depend on glutamate for survival remains unknown. To investigate if deprivation of glutamate stimulation in the immature mammalian brain causes neuronal cell death (apoptosis), rat pups aged 0 to 30 days were treated for 24 hours with dizocilpine maleate (MK801), an N-methyl-D-aspartate-(NMDA) glutamate receptor antagonist. Density of neural degeneration was evaluated by a stereological dissector method in cupric-silver and TUNEL-stained brain slices. Groups were compared by ANOVA and significance considered at p

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