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This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.

La Cirrhose Amérindienne Infantile (CAI, NAIC) est une forme de cholestase non-syndromique héréditaire à transmission autosomique récessive, décrite uniquement chez les enfants autochtones du Nord-Ouest québécois et issue d’un effet fondateur. La maladie se présente d’abord sous la forme d’une jaunisse néonatale chez un enfant autrement en bonne santé, qui progresse en cirrhose de type biliaire dans l’enfance et dans l’adolescence. Le taux de survie à l’âge adulte est inférieur à 50% et la seule thérapie efficace à ce jour pour les patients avancés dans la maladie demeure la transplantation hépatique. Les recherches antérieures menées par le groupe ont permis d’identifier le locus ainsi que le gène responsable de NAIC, qui encode la protéine nucléolaire Cirhin. Cirhin est exprimée uniquement dans le foie et tous les patients sont homozygotes pour la mutation R565W. La fonction de Cirhin est inconnue, mais les motifs WD40 retrouvés dans sa séquence indiquent qu’elle participerait à des interactions protéine-protéine et serait impliquée dans un mécanisme moléculaire de base. Cirhin interagit avec la protéine nucléaire Cirip, qui a un effet positif important sur la transcription de l’élément activateur HIV-1 LTR et qui a un rôle dans la prolifération cellulaire. L’interaction de Cirhin et Cirip est affectée par la mutation R565W. À l’aide de la technique du double hybride chez la levure, la protéine nucléolaire Nol11 a été identifiée comme étant un partenaire d’interaction de Cirhin. Par son interaction avec MARK3 et c-Myc, Nol11 serait impliquée dans des processus cellulaires tels que le contrôle du cycle cellulaire, la polarité, la croissance cellulaire et possiblement la biogenèse des ribosomes. La portion C-terminale de Nol11 interagirait avec Cirhin, et la mutation R565W abolit cette interaction. Le résidu R565 serait donc important pour la fonctionnalité de Cirhin. / North American Indian childhood cirrhosis (NAIC) is a nonsyndromic form of hereditary autosomal recessive cholestasis, described only in children of Algonquin origin from the Abitibi region of north-western Québec and issued from a founder effect. NAIC typically presents with transient neonatal jaundice in a child who is otherwise healthy, but progresses to biliary fibrosis in childhood or young adulthood. The survival rate at adulthood is lower than 50% and liver transplantation is currently the only effective therapy for patients with advanced disease. Previous research by the group allowed the identification of the locus and the gene responsible for NAIC, which encodes the nucleolar protein Cirhin. Cirhin is expressed only in the liver and all patients are homozygous for the R565W mutation. Cirhin’s function is unknown, but it is a WD40-repeat containing protein, which indicates that it would participate in protein-protein interactions and would be involved in a basic molecular mechanism. Cirhin interacts with the nuclear protein Cirip, which has a significant positive effect on the transcription of the HIV-1 LTR enhancer element and has a role in cellular proliferation. The interaction between Cirhin and Cirip is affected by the R565W mutation. Using the yeast two-hybrid technique, the nucleolar protein Nol11 was identified as an interacting partner of Cirhin. By its interaction with MARK3 and c-Myc, Nol11 may be involved in cellular processes such as cell cycle control, polarity, cell growth and possibly ribosome biogenesis. The C-terminal portion of Nol11 interacts with Cirhin and the R565W mutation abolishes the interaction. The residue R565 may thus be important for Cirhin’s functionality.

Mexico's Trade Policy During The Pe Kryštof Kozák, Ph.D. Despite the efforts of trading with other countries, there is still a dominant economic dependence on the United States due to the NAFTA agreement. The master thesis studies Mexico's trade policy and its effects on trade during the Peña Nieto administration with particular attention paid to how the government has tried to diversify trade. A descriptive analysis is used with research in exports, imports and foreign direct investment.

A presente tese busca compreender o processo de Comunicação das características da cultura norte-americana a partir da leitura e interpretação de textos midiáticos fílmicos de diferentes épocas. O apoio teórico parte da noção de memória textual e código-texto segundo estudos de Iuri Lotman, um dos pesquisadores da Semiótica da Cultura. Nessa perspectiva, as produções do cinema são consideradas como um sistema de signos inseridos na semiosfera correspondente. A descrição do sistema da cultura norte-americana é feita pela identificação de suas narrativas míticas fundacionais, de origem judaico-cristã, latina e egípcia. Os mitos são estudados como elementos encadeadores dos textos da cultura considerados relevantes para esta pesquisa, desde o Descobrimento (século 16) até o período da independência norte-americana (século 18). Uma vez descrito o sistema da cultura norte-americana, por meio da memória textual, procede-se à leitura de dois textos cinematográficos nos quais se verificam configurações desses elementos mitológicos. A tese comprova seu objetivo de demonstrar como o mito da nova ordem repercute em textos do cinema norte-americano do final do século XX, e como esse mito é reiterado na atualidade reforçando o papel preponderante da América como nação renovadora do mundo. / This thesis seeks to understand the process of communication of north-American cultures features from the reading and interpretation of filmic media texts of different periods. The theoretical support starts from the notion of \"textual memory\" and \"code-text\" according to studies of Iuri Lotman, a researcher of Culture Semiotics. From this perspective, the productions of cinema are considered as a system of signs inserted in corresponding semiosphere. The description of the system of north-American culture is made by identification of its founding myths of Judeo-Christian, Latin, and Egyptian origin. The myths are studied as linker elements of culture texts considered relevant to this research, since the \"Discovery\" (16th century) until the period of American independence (18th century). Once described the system of American culture, through the textual memory, it proceeds to read two film texts in which there are settings of these mythological elements. The thesis proves his goal to showing how the new order myth reflects in texts of north-American cinema of the late twentieth century, and how this myth is repeated in the present strengthening the role of America as a nation renewing of world.

Made available in DSpace on 2016-03-15T19:45:56Z (GMT). No. of bitstreams: 1 Patricia Hradec.pdf: 733412 bytes, checksum: 650b52ba448ff4625df8880300e658ee (MD5) Previous issue date: 2014-01-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to analyze the novel Interview with the Vampire by Anne Rice, the first of ten books in the Vampire Chronicles". The aim of this research is to demonstrate how the vampires presented by Rice are humanized. It begins with a historical study about vampires, both legendary and literary ones, then there is a study about the life and work of the American writer as well as a survey of the differences between the vampires from Rice and others described in the literature, including the icon of the genre: Dracula, by Bram Stoker. The analysis still continues with some theoretical notes on the fantastic genre, including concepts about Todorov, Ceserani, among others. There is also an analysis of the main characters: the vampire Louis who denies his vampiric nature; the vampire Lestat who also fights against human problems; Claudia, the vampire kid, who does not accept her condition as a woman stuck in a child s body; the vampire Armand, one of the oldest vampires in the world that looks for human peace. There is also an analysis of a human character, a supposed journalist, who listens to the story of mortal and immortal life of the vampire Louis. The analysis also covers the time and space in the narrative and its relationship with the fantastic genre, as well as some differences between the book written in 1976 and the film released in 1994, a big hit, reference for many other vampire movies. / Esta dissertação tem por objetivo analisar o romance Interview with the Vampire de Anne Rice que é o primeiro livro dos dez que constituem suas Crônicas Vampirescas . Pretende-se com esta pesquisa demonstrar como os vampiros apresentados por Rice são humanizados. Inicia-se com um estudo histórico sobre os vampiros, tanto lendários quanto literários, depois há um estudo sobre a vida e obra da escritora norte-americana bem como um levantamento das diferenças entre os vampiros de Rice e outros descritos na literatura, entre os quais o ícone do gênero: Drácula, de Bram Stoker. A análise continua ainda com alguns apontamentos teóricos sobre o gênero fantástico, incluindo conceitos de Todorov, Ceserani, entre outros. Há também uma análise dos principais personagens: o vampiro Louis que renega sua natureza vampírica; o vampiro Lestat que também luta contra problemas humanos; Cláudia, a menina vampira, que não aceita sua condição de mulher presa a um corpo de criança; o vampiro Armand, um dos mais velhos vampiros do mundo que almeja a paz humana. Há ainda a análise de um personagem humano, um suposto jornalista, que ouve toda a história de vida mortal e imortal do vampiro Louis. A análise ainda abrange o tempo e espaço da narrativa e sua relação com o gênero fantástico, bem como algumas diferenças entre o livro escrito em 1976 e o filme, lançado em 1994, um sucesso de bilheteria, referência para muitos filmes sobre vampiros.

Esta pesquisa pretende apontar a presença e a representação de elementos revolucionários nas estruturas formais das Four Black Revolutionary Plays: All Praises to the black man (Quatro Peças Revolucionárias Negras: Todos os louvores ao homem negro). Peças escritas pelo dramaturgo negro Amiri Baraka que, sobretudo nos anos sessenta, se colocou contra o establishment e produziu uma dramaturgia que pregava a valorização da cultura negra, o engajamento político e a rebeldia contra os valores do status quo branco e de parte da classe média negra norte-americana. Nossas hipóteses, aqui apresentadas, são de que a obra baraqueana é processual porque não se finda em um único período ou obra, mas guia-se por uma necessidade de mudança contínua em face dos acontecimentos históricos e sociais que o dramaturgo vivencia enquanto escreve suas peças e porque busca reescrever uma nova história e mitologia negra. Desta forma, ao procurar valorizar a negritude e os outros valores apregoados pelo movimento Black Power e pelo nacionalismo negro, Baraka desenvolve uma dramaturgia contundente que tenta abarcar as demandas da comunidade negra e que a instigue a agir coletivamente. / This paper intends to spot the presence and representation of the revolutionary elements within the formal structures of the Four Black Revolutionary Plays: All Praises to the black man. These are the plays by the black playwright Amiri Baraka who, especially in the sixties, fought against the establishment by means of plays that extolled the appreciation of the black culture, the political engagement and the defiance of the white mens status quo and also a portion of the American black middle class. Our theses provided herein say Barakas work has an ever-evolving nature as its not restricted to a single time or work; rather, it is driven by the need for the continuous change due to the social and historic events the playwright experienced at the time he wrote his plays, also seeking to rewrite a new black history and mythology. Accordingly Baraka creates groundbreaking plays intended to consider and review the black communitys condition and make it act collectively in response.

Essa tese analisa a obra literária dos escritores Sherwood Anderson (1876-1941) e Jack London (1876-1916) produzida nos anos 1900-1910, procurando compreender a maneira como se deu o diálogo entre a ficção e a realidade histórica, como aquela produziu uma leitura e uma interpretação desta, sobretudo no que tange às mudanças no sentido histórico do trabalho. Dado o fato de que ambos os escritores em questão viveram num momento decisivo de transformação histórica nos Estados Unidos, quando na transição entre o século XIX e XX se estabeleceram novas dinâmicas sociais e econômicas, articuladas estas com a consolidação do capitalismo de regime monopolista, essas literaturas trazem em seu corpo as cicatrizes históricas dos esforços de adaptação e compreensão desse processo. Atrelada a essa momentosa transição em curso, havia o fato de que ambos os escritores eram trabalhadores, e num momento crucial da formação da classe trabalhadora estadunidense, quando as transformações materiais impunham severas readequações na divisão do trabalho, na organização produtiva estrutural, na estratificação social dele oriunda, nas respostas políticas de resistência deles, e também nos sentidos subjetivos que o trabalho e o trabalhar poderiam possuir. Por conta de tudo isto, a literatura de Sherwood Anderson e Jack London produz uma interpretação ficcional dessa experiência histórica, permitindo com que se rastreie e compreenda como as velhas tradições do \"Evangelho do trabalho\" dos Oitocentos foram sendo brutalmente modificadas pela dinâmica produtiva de ordem fabril, pelo controle financeiro, pela concentração econômica e pela acentuação da exploração capitalista pelo regime monopólico. Essa situação, dadas as particularidades biográficas e os históricos de formação das regiões onde viveram os dois escritores (um do Meio-Oeste, outro do Extremo Oeste dos Estados Unidos), foi traduzida ora como crise de consciência íntima, ora como uma grande crise civilizacional que a punha em pé de igualdade com a selvageria da natureza. Ambas, pois, fornecem ao historiador chaves analíticas com as quais pensar a mudança do lugar e do sentido histórico do trabalho naquele processo, e como essa mudança participava da formação da classe trabalhadora, tanto em sentidos estruturais quanto subjetivos, tanto progressistas como conservadores. / This thesis analyzes the literary work of writers Sherwood Anderson (1876-1941) and Jack London (1876-1916) produced in the years 1900-1910, aiming at understanding the way how the dialogue between fiction and historical reality happened, how the former produced a reading and interpretation of the latter, especially regarding to shifts in the historical meaning of labor. Given the fact that both writers concerned lived in a decisive moment of historical transformation in the United States, when in the transition between the 19th and the 20th century new social and economical dynamics were established, articulated with the consolidation of the capitalism of monopolist regime, these writings bring in their body the historical scars of the efforts of adaptation and comprehension of this process. Attached to this momentous ongoing transition, there was the fact that both writers were workers, and during a crucial moment of the formation of the US working class, when the material transformations imposed severe readjustments in the division of labor, in the structural productive organization, in the social stratification originated from it, in the political answers of resistance from them, and also in the subjective senses that labor and work could have. Due to all that, the literature of Sherwood Anderson and Jack London produces a fictional interpretation of this historical experience, allowing to track and understand how the old traditions of the Gospel of work of the Eighteen hundreds were being brutally modified by the productive dynamics of the manufacturing industry, by the financial control, by the economic concentration and by the intensification of the capitalist exploration by the monopolistic regime. This situation, given the biographic particularities and the historical formation of the regions where the two writers lived (one from the Midwest, the other from the Far West of the United States), has been translated sometimes as a crisis of intimate consciousness, sometimes as a big civilizational crisis that put it on an equal footing with the wildness of nature. Both, therefore, provide the historian with analytical keys with which to think the shift of place and historical sense of labor in that process, and how this shift participated in the formation of the working class, both in structural and subjective senses, both progressives and conservatives.

有些學者認為，一國依地位、歷史、政治諸環境，所擬定的固定與長期性外交目標應視為外交原則(Principle of Foreign Policy)而非外交是不易變動的，外交政策則因時勢的推移、環境的轉變、利害的權衡，而可以隨機應變。睽諸墨西哥外交史，自始即強調了"民族自決"與"不干預原則"。為貫徹此原則，墨西哥外交政策便屢有調整。一方反對大國干預，爭取經濟獨立，帶領拉丁美洲國家整體化發展，由區域開發與利益的保護觀點與大國相抗；一方也必須採取務實方略，認清國家發展的重點仍離不開北方巨人的奧援，故而調整政策與美國親善。鑑於外交原則是墨西哥外交政策重要的政策意涵所在，本文特就墨西經驗與獨特地理位置，索引墨西哥外交政策發展的軌跡，提供一種全方位的觀察角度。尤其置重於七Ｏ年代以后，墨西哥努力成為區域主權領導者，其堅決同"第三世界國家"打成一片的外交政策，率先提出"各國經濟權利與義務憲章"成為發展中國家向工業化國家進行鬥爭的象徵。墨西哥限於本身國力，雖未能以強國姿態左右區域動向，但曾挾其富有石油力量促進區域之穩定。尤有進者八０年代的"康塔多拉集團"(Contadora Group)積極斡旋中美洲動亂的努力成就有目共睹。惟一九八二年石油危機與債務危機，卻帶來倒退厄運。墨西哥除了推倡拉美經濟整合，一方亦努力尋找更多發展機會，與西方國家與東亞國家的經濟互動異常活躍。與此同時，墨西哥也意識到要擺脫美國依賴，無法單純採取疏離美國之作法，而是要正視這份關係，變被動為主導，將與美國相近作為一種優勢，利用同美國的關係發展自己。經濟與外交的多元化，刻正帶領墨西哥走上已開發國家的路向。尤其在北美由貿易協定格局之下，根據美國紐澤西洲Polyconomics公司評估，墨西哥挾其資源與實力，將可成為"另一個台灣"。墨西哥積極外交政策施為、墨美關係之今昔與墨西哥經濟外交及國家發展的關連。筆者認為，惟有跨時空地自歷史、地理、政治、經濟角度觀察墨西哥外交政策，方有全盤性的系統敘述。