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My dissertation, Letters from Jack and Other Cadavers, developed out of my interest in using persona, narrative forms, and historical details collected through thorough research to transform personal experience and emotions in my poems. The central series of poems, "Letters from Jack," is written in the voice of Jack the Ripper and set up as a series of poems-as-letters to the police who chased him. The Ripper's sense of self and his motivations are troubled by his search for a muse as the poems become love poems, contrasting the brutality of the historical murders and the atmosphere of late 19th century London with a charismatic speaker not unlike those of Browning's Dramatic Monologues. The dissertation's preface further explores my desire for a level of personal removal while crafting poems in order to temper sentimentality. Drawing on Wallace Stevens's notion that "Sentimentality is failed emotion" and Tony Hoagland's assessment that fear of sentimentality can turn young poets away from narrative forms, I examine my own poems along with those of Scott Cairns, Tim Seibles, and Albert Goldbarth to derive conclusions on the benefits distance, persona, narrative, and detail to downplay excessive emotion and the intrusion of the personal. Poems from the manuscript have appeared in The Beloit Poetry Journal, Sybil's Garage, The North Texas Review, and The Sheridan Edwards Review.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-07-15T17:59:21Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE COMPLETA - Eduardo Queiroga-5.pdf: 9389724 bytes, checksum: 3c465da97a3521a3f3c37a93964140f0 (MD5) / Made available in DSpace on 2016-07-15T17:59:21Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TESE COMPLETA - Eduardo Queiroga-5.pdf: 9389724 bytes, checksum: 3c465da97a3521a3f3c37a93964140f0 (MD5) Previous issue date: 2016-04-05 / CAPES / Esta pesquisa aborda a autoria na fotografia documental. Os conceitos de fotografia, autoria e documental - são, de modo geral, atravessados por ambiguidades, contradições e lacunas, que se multiplicam quando trabalhados em relação com o campo da comunicação. Adotamos a posição que: a) toda fotografia atua em uma dinâmica de descontextualização e recontextualização, responsável pela perda de vinculação entre o momento da captação da imagem e o da sua fruição, com consequente abertura para distintas interpretações; b) a fotografia documental busca relatar um fenômeno, levar a seus espectadores informações sobre um acontecimento, ou cenários culturais e sociais; c) os limites de significação da fotografia exigem que o autor articule estratégias de condução da interpretação: a relação com o texto, a formatação de séries e conjuntos de fotos, a definição do circuito e a consolidação da assinatura; d) a autoria envolve preocupações de delimitação, de separação, de responsabilização jurídica, além do deslocamentos na linguagem. Busca-se, portanto, as complexidades contidas nos conceitos de documental e de autoria, sem perder de vista as relações de poder e os mecanismos de controle que atravessam tais perspectivas. Para tanto, autores como Roland Barthes, Michel Foucault, Olivier Lugon, John Tagg, Jonathan Crary, Antoine Compagnon, Jean-Marie Schaeffer, John Berger, Roger Chartier e Margarita Ledo, ocupam o centro teórico-conceitual deste trabalho. No percurso, nos centramos sobre os fotógrafos documentais brasileiros João Roberto Ripper e Sebastião Salgado, ambos atuantes em uma fotografia alinhada a causas sociais e humanistas. Observamos aspectos presentes nas suas intenções, na maneira de trabalhar, na relação com o fotografado, nas escolhas formais, na gestão de sua assinatura e na condução de suas obras. Nos debruçamos mais detidamente em três livros de cada um deles: Imagens Humanas, Retrato Escravo e Poblaciones Tradicionales, de Ripper; Outras Américas, Trabalhadores e Genesis, de Salgado. Objetivamos afirmar que o autor é peça chave na conformação da fotografia documental. Suas estratégias autorais visam fazer chegar ao leitor suas intenções de modo a minimizar interpretações divergentes sobre o discurso fotográfico documental / This research aims to discuss about authorship in documentary photography. This concepts – photography, authorship and documentary – are crossed by many ambiguities, contradictions and gaps, that multiply themselves when working in relation to the communication field. We adopt the position that: a)each photography acts in a dynamic of contextualisation and recontextualization, which is responsible for the linkage loss between the moment in which the image is captured and its fruition, having as a result, the openness to distinct interpretations; b) the documentary photography intends to report a phenomenon and, give to its observers information about an event, or cultural and social settings; c) the significance limit of the Photography requires the author to articulate driving strategies for interpretation: the relationship with the text, series formatting and sets of photos, the circuit definition and signature consolidation; d) the authorship involves concerns about delimitation, separation, criminal responsibility, coupled with shifts in language. We seek, in effect, the complexities contained in the concepts of documentary and authorship, not losing sight the power relations and the mechanisms of control that go through these outlooks. Thus, authors such as Roland Barthes, Michel Foucault, Olivier Lugon, John Tagg, Jonathan Crary, Antoine Compagnon, Jean-Marie Schaeffer, John Berger, Roger Chartier and Margarita Ledo, have been indispensable with their contributions from different knowledge fields. Throughout the whole way, we list the work of the Brazilian documentary photographers João Roberto Ripper and Sebastião Salgado, both acting in a photography aligned to social and humanistic causes. We have observed features present in theirs intentions, working way, relationship with the photographed subject, formal choices, managing of their signatures and routing of their works. More thoroughly, we worked through three books of each of them: Imagens Humanas, Retrato Escravo and Poblaciones Tradicionales, by Ripper; Other Americas, Workers and Genesis, by Salgado. Many other works, authored by these and other photographers, also took part in our research to increase the discussion and confront ideas. We aim to state that the author is a key part in configuring the documentary photography. His or her authorial strategies aim do present his intentions to the reader in order to minimize divergent interpretations.

A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de estudo das obras escolhidas. / The main objective of this dissertation is to demonstrate the use of Sonata Form on contemporary Brazilian music. For the sake of contextualization, there is initially a description of the historical process of transformations of the sonata form and also of the main facts of the Brazilian Music during 20th century. Next there is an analysis of piano sonatas by three brazilian composers (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) and also the pieces with inspired them (Liszt\'s B Minor Sonata, Alban Berg\'s Sonata Op. 1 and Roberto Victorio\'s Vattan). Finaly there are study suggestions of the three chosen sonatas.

A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de estudo das obras escolhidas. / The main objective of this dissertation is to demonstrate the use of Sonata Form on contemporary Brazilian music. For the sake of contextualization, there is initially a description of the historical process of transformations of the sonata form and also of the main facts of the Brazilian Music during 20th century. Next there is an analysis of piano sonatas by three brazilian composers (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) and also the pieces with inspired them (Liszt\'s B Minor Sonata, Alban Berg\'s Sonata Op. 1 and Roberto Victorio\'s Vattan). Finaly there are study suggestions of the three chosen sonatas.

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Machine learning applications are plagued by the imbalance observed among the class sizes in many real world datasets. A dataset is said to be skewed or imbalanced when its classes are very unequally represented. A naïve classifier learned from these skewed datasets is always biased towards the majority classes which constitute a major percentage of the samples in the dataset. As a result the accuracy on the minority classes is hampered. In many real world applications like network intrusion detection, cancer detection from mammography images, etc. the events of interest are very rare and the cost of not detecting these events is very high. Hence it very important to improve accuracies on the minority classes. It has been proposed previously that under-sampling of the majority classes can reduce the bias of the learned classifier and over-sampling of the minority classes - especially SMOTE (Synthetic Minority Over-sampling TEchnique) can boost the classifier accuracy on minority classes. But the question of how much under-sampling and over-sampling to be done for a particular induction learning algorithm and dataset remains. We present a wrapper approach for searching for the under-sampling and over-sampling (i.e. SMOTE) percentages for a particular learning algorithm for a given skewed dataset. We compare the results obtained by the classifiers built on wrapper selected under sampled and SMOTEd datasets with the ones obtained by classifiers built on the original datasets to show a statistically significant improvement in accuracies over minority classes. This proves the efficacy of the wrapper approach in searching for the under-sampling and over-sampling percentages. Further, it provides an automated method to select the number of synthetic examples to be created.

This thesis introduces viable password recovery tools and their categories as well as the technologies and hardware commonly used in this field of informatics. It follows by an overview of the available benchmarking tools for the given hardware. Thesis later contains a description of the custom benchmarking process targeting the aspects of interest. Later, the thesis moves to a distributed system FITcrack as it proposes and experimentally implements new features. The thesis finishes by comparison of the additions against the original state and highlights the areas of improvement.

The goal of this thesis is to analyze the technologies for distributed computing in password cracking. Distribution is a key factor regarding the total time of cracking the password which can sometimes take up to tens of years. In the introductory section we take a look at the general password cracking, types of attacks and the most popular tools. Next we address the GPU parallelization as well as the need of distributed computing on multiple computers. We look at all kinds of technologies, such as VirtualCL, BOINC, MPI and analyze their usability in password cracking. We examine each technology's performance, efficiency, scalability and adaptability when given pre-defined conditions. Part of this thesis is a design and implementation of distributed password cracking using MPI technology along with Hashcat, a self-proclaimed World's fastest password cracker.

The work is given an analysis of Open Source Software (further referred as OSS), which allows use and create computer clusters. It explored the issue of clustering and construction of clusters. All installations, configuration and cluster management have been done on the operating system GNU / Linux. Presented OSS makes possible to compile a storage cluster, cluster with load distribution, cluster with high availability and computing cluster. Different types of benchmarks was theoretically analyzed, and practically used for measuring cluster’s performance. Results were compared with others, eg. the TOP500 list of the best clusters available online. Practical part of the work deals with comparing performance computing clusters. With several tens of computational nodes has been established cluster, where was installed package OpenMPI, which allows parallelization of calculations. Subsequently, tests were performed with the High Performance Linpack, which by calculation of linear equations provides total performance. Influence of the parallelization to algorithm PEA was also tested. To present practical usability, cluster has been tested by program John the Ripper, which serves to cracking users passwords. The work shall include the quantity of graphs clarifying the function and mainly showing the achieved results.