The following is a collection of lines, curves, and dots on a plane, representing words fashioned to communicate my ideas about relationships between the thing and the nothing. This thesis is like a map, a contour drawing, an assortment of lines, speaking my thoughts about things in relation to space and time. As something moving, developing into another thing, as a thing sentient, I am viewing, performing, and processing incremental acts. I am looking at water and I can see my reflection break into a thousand pieces. It is like watching time.

Television static represents the absence of a legible image and the presence of something iconic and disturbing - a sinister abstraction. These repeating rhythms also occur in the Hail Mary prayer, in the houses in my neighborhood, in large crowds, and in my mother's crotchet patterns. The unsettling aspect of repetitive mark making in my drawings mirrors in part my psychotherapy, in which the past is revived over and over, as well as the idea of penance absorbed through my Catholic background.Since moving away from Mexico I have been using imagery related to the United States: rivers, mountains, and landscapes. But in the final drawings this subject matter remains distant to me; I connect to the work only through making marks on paper. On one level, specificity is important: which river? or which mountain?, but another kind of connection is made when the images cease to be legible. As information accumulates on the surface, I am interested in a purely visual and phenomenological effect that briefly defies the emotional nature of my source material.

Denna uppsats handlar om att skapa konstnärliga produktioner med loopar som utgångspunkt. Utifrån fyra specificerade loopmetoder har åtta konstnärliga produktioner skapats. Med looparna som utgångspunkt skapas en grund att bygga från och i samma stund ett problem som måste lösas. Denna medvetna begränsning frambringar effektivitet och kreativa lösningar samt användbara verktyg och intresseelement.

This dissertation investigates different sorts of repetition in the text ”Watersteps” and the four central lyrical works of the Danish poet Inger Christensen (1935–2009), it, Letter in April, alphabet and Butterfly Valley. The poems are analysed through close reading against a backdrop of the philosophical investigations of repetition by Søren Kierkegaard, Gilles Deleuze and Jacques Derrida as well as the phenomenology of Maurice Merleau-Ponty and the lifeworld philosophy of the late Edmund Husserl and Martin Heidegger. Inger Christensen is known for constructing different systems as framework for her texts. Repetition is a dominant element in these systems, and in her texts repetition is pervading  in her prose as well as in her poetry. The repetitions have important functions structuring the texts and creating new meanings. Using a term of Novalis you could say that they function as tools of a writer who is ”inspired by language” (”ein Sprachbrgeisterter”). The repetitions are literal (or just slightly changed) and thematical. They are nearly always not just a repetition of a former expression or theme. The investigation shows that something new is produced in the process of repeating. While repetition pushes expressions and themes forward in the texts, the signification and meaning of these are changed at the same time. The process often includes displacement and condensation supplying the text with never ending possibilities of creating new relations and new meanings. The combination of system, repetition, and the meaning of the text shows the relationship between subject, world and language. They are independent phenomena at the same time as they are deeply involved in each other. The constant interaction and the tension between them are demonstrated in the texts both formally and semantically. Reality is suspended between them in eternal mobility; identity becomes relative. The living subject is defining and redefining itself by being part of the world mediated to it through language, and these two are in turn constantly redefined in the process of repetition. In this way the subject, and certainly the poet subject, is always expressing the world or, in reversed order, the world expresses itself through the subject.

Gustav Mahler’s Lieder eines fahrenden Gesellen (first published 1887) feature as their only character a miserable wayfarer who laments his unrequited love for someone and who, in spite of all his beautiful pastoral surroundings, cannot help but feel deep unhappiness. Using Lacan’s three orders (Imaginary, Symbolic and Real) and further developments of his theory by Slavoj Žižek in The Sublime Object of Ideology, I argue that the eyes of the wayfarer’s beloved are the Lacanian Real that disrupts his symbolic network and thus are the origin of his traumatic existence. His misery becomes an immanent part of his identity and he can therefore only exist through this feeling. Furthermore I suggest that, although he laments the situation, he subconsciously desires the unhappy love affair as a way of guaranteeing his own existence as a wayfarer, in accordance with Freud’s concept of Repetition compulsion.

Nem te conto, João, publicada em 2013, é a terceira novela de Dalton Trevisan. Feita de repetições, retomadas, frases reduzidas, em que ficam evidentes as áreas de silêncios, a narrativa tem como enfoque principal a atmosfera furtiva dos encontros amorosos entre João e Maria. Em diálogo, os protagonistas reproduzem uma conversação sobre a aproximação íntima entre eles, pelo jogo do que estão dizendo, não dizendo. A força que rege a obra é sexual; porém, o sexo e as ações mais obscenas ficam nas entrelinhas. Fazendo da repetição o traço mais evidente no texto, ao invés de generalidades, seu uso remete a um paradoxo, pois a obra é criada por meio desse processo que, por natureza, é avesso ao próprio processo. Assim, são dois os objetivos principais dessa dissertação. O primeiro é o de investigar como a repetição está presente na composição da obra. O que se repete fixa sentidos desdobráveis e, ainda que a novela avance sem variantes ou precipitações, pelo excesso de uma ideia tanto linguística quanto estilística, o texto se movimenta. De início, os nomes dos personagens, algumas características, frases e expressões trazidas de outras obras do autor dão os primeiros indícios do que se repete. Contudo, conforme a história do casal avança, a repetição vai se revelando uma instância que dinamiza o texto, dando origem a desdobramentos ao invés de imobilizações. Para discorrer sobre os processos percebidos, são trazidas leituras de Waldman (2014) e Franco Jr. (2004) sobre a repetição na escrita de Dalton Trevisan. Para uma perspectiva filosófica, são discutidas questões que Deleuze (2006) propõe a respeito da repetição em textos literários. A partir dessa dinâmica trazida pela repetição, o propósito seguinte é o de pensar como esses movimentos podem ser associados ao da performance. Em performance, o texto é percebido como proliferador de movimentos constantes, gerador de impressões conforme a cena em andamento. Tomando partido da noção de performance por Zumthor (2000), é na dimensão do corpóreo em que se desenrola essa interação, no sentido da dinâmica entre voz e escuta. Para tanto, serão analisadas as questões da fala e da voz dos personagens, na dimensão de uma reconfiguração da cena enunciativa plena, capaz de manifestar do texto múltiplas projeções sensórias. Na obra, há um prazer verbal constante, que se manifesta nas falas dos protagonistas e do narrador. Ouvindo esse diálogo, permeado de alusões e intenções subentendidas, o leitor também se posiciona e, na dimensão de uma voz íntima, sua escuta é trazida como uma instância produtiva e interativa para essa performance. Além da dimensão da voz, que está tanto na obra quanto no leitor, a dimensão da escuta é para onde se dirigem estes estímulos da voz. É nessa dimensão que o sentido será, de fato, recebido, pois ouvindo a própria voz, o leitor também encena a leitura. / Nem te conto, João, published in 2013, is the third novel by Dalton Trevisan. Made of repetitions, retakes, reduced phrases, where the areas of silence are evident, the narrative focuses mainly on the furtive atmosphere of the love encounters between João and Maria. In dialogue, the protagonists reproduce a conversation about the intimate approximation between them, by the game of what they are saying, not saying. The force that governs the work is sexual, but sex and the most obscene actions are between the lines. Making repetition the most evident trait in the text, instead of generalities, its use refers to a paradox, because the work is created by means of this process which, by its nature, is averse to the process itself. Thus, there are two main objectives of this dissertation. The first is to investigate how repetition is present in the composition of the work. What is repeated fixes unfolding senses and, even if the novel advances without variants or precipitations, by the excess of an idea both linguistic and stylistic, the text moves. At the beginning, the names of the characters, some characteristics, phrases and expressions brought from other works of the author give the first indications of repetition. However, as the couple\'s story progresses, repetition proves to be an instance that dynamizes the text, giving rise to unfolding rather than immobilizations. To read about the perceived processes, readings are given by Waldman (2014) and Franco Jr. (2004) on Dalton Trevisan\'s writing repetition. For a philosophical perspective, questions are discussed that Deleuze (2006) proposes regarding repetition in literary texts. From this dynamics brought about by repetition, the next purpose is to think about how these movements can be associated with performance. In performance, the text is perceived as proliferating constant movements, generating impressions according to the scene in progress. Taking advantage of the notion of performance by Zumthor (2000), it is in the dimension of the body in which this interaction unfolds, in the sense of the dynamic between voice and listening. In order to do so, the questions of the speech and the voice of the characters will be analyzed, in the dimension of a reconfiguration of the full enunciative scene, able to manifest from the text multiple sensorial projections. In the work, there is a constant verbal pleasure, which is manifested in the speeches of the protagonists and the narrator. Listening to this dialogue, permeated by implied allusions and intentions, the reader is also positioned and, in the dimension of an intimate voice, his listening is brought as a productive and interactive instance for this performance. Besides the dimension of the voice, the dimension of listening is where these stimuli of the voice are directed. It is in this dimension that the meaning will actually be received, for by hearing the voice itself, the reader also enacts the reading.

Apresentamos aqui um estudo da obra cinematográfica de Sergio Bianchi, de seu sentido interno e suas contradições, sua trajetória e rupturas. A análise estética e os comentários de cenas específicas que buscamos desenvolver passam pela operacionalidade de certos conceitos da psicanálise lacaniana, em especial os de voz, olhar e real, que se mostraram pertinentes e insubstituíveis no estudo do objeto cinematográfico. A organização geral deste trabalho se deu em três planos diferentes. O primeiro compreende as mudanças pelas quais passaram a obra em relação às expectativas de gênero cinematográfico e de conformação à produção nacional, mas aborda principalmente a continuidade de temas e os diferentes tratamentos dados a eles na estruturação interna dos filmes. O segundo diz respeito à organização obsessiva e transversal da obra de Sergio Bianchi, sua estrutura sintomática de repetições de cenas e antagonismos de um filme a outro. O terceiro plano articula-se ao segundo ao desentranhar e localizar, por meio da análise dos procedimentos cinematográficos, um antagonismo mais fundamental na relação do autor com o espectador do cinema nacional, em particular com seu espectro progressista e democrático. A especificidade desse antagonismo está na perversão tanto autoral quanto constitutiva do cinema, assumindo em Sergio Bianchi os contornos de uma estética sádica que guarda afinidades com a de Alfred Hitchcock. A conclusão da tese é uma análise mais minuciosa de Jogo das decapitações (2013), seu último longa-metragem, postulado por nós como fim de um ciclo que nos permitiu avaliar retrospectivamente a obra como um todo. / This thesis presents a study of the cinematographic work of Sergio Bianchi, its internal meanings and contradictions, its trajectory and ruptures. The aesthetic analysis and the comments of specific scenes that we seek to develop involve the operability of certain concepts of Lacanian psychoanalysis, especially those of voice, gaze and the real, which are pertinent and irreplaceable in the study of the cinematographic object. This work has been organized on three different levels. The first one is related to the changes that Bianchis work has undergone not only in relation to genre expectations and conformation to national production standards, but mainly to the continuity of themes and their different usages by the internal structuring of the films. The second level is connected to the obsessive and transversal organization of the author\'s work, that is, the symptomatic structure of repetitions of scenes and antagonisms from one film to another. The third level articulates with the second one as it locates and unravels, through the analysis of the cinematographic procedures, a more fundamental antagonism in the relation of the author with the spectator of the Brazilian national cinema, particularly its progressive and democratic spectrum. The specificity of the aforementioned antagonism lies in both the constitutive and authorial perversion of cinema, assuming contours of a sadistic aesthetic in Bianchis work that has affinities with that of Alfred Hitchcock\'s. The conclusion of the thesis is a more detailed analysis of his latest feature film, Jogo das decapitações (2013), which we postulate as the end of a cycle, namely a full stop that has allowed us to retrospectively evaluate his work as a whole.

Syftet med denna studie att belysa framgångsrikt pedagogiskt arbete för elever medspråkstörning. Vi använde oss av en kvalitativ metod för att ta reda på detta. Vi använde ossav intervjuer och observationer. Vi observerade tre olika lektioner, lärmiljön på tre olikaskolor och en förskola och vi intervjuade sex pedagoger som arbetar med barn medspråkstörning. Vi analyserade materialet genom tematisk analys. De teman vi sågkategoriserades. Kategorierna utgick ifrån vad forskningen säger är framgångsfaktorer ochsom var relevanta utifrån vårt syfte. Lärmiljön i de olika skolorna och förskolan skiljde sig endel, men det fanns även vissa likheter som att man hade tillgång till grupprum. Allapedagoger uppgav att struktur, rutiner och användandet av bildstöd var en framgångsfaktor.Vi fann även att man behövde arbeta med kortare lektioner och mer variation iundervisningen och att man som pedagog behövde ge eleverna förförståelse och repeteramer. Vikten av goda relationer framhölls också.

Marguerite Duras place la répétition, en tant que principe d’écriture, au cœur de la plupart de ses œuvres et cette répétition se situe à différents niveaux : celui de la diégèse, du style et des thématiques choisies. Cette étude se fixe donc pour objectif de comparer les écarts qui s’insinuent entre les nombreuses redites dans les récits de l’enfance et d’analyser les procédés narratifs selon trois axes : la restitution des connaissances objectives d’un narrateur omniscient, ses commentaires subjectifs, et enfin l’introduction dans le récit des voix des personnages et de l’auteur elle-même. C’est dans la confrontation de ces points de vue, mis en lumière par des procédés relevant de la syntaxe, de la sémantique ou de la pragmatique, que sont étudiés les enjeux et les effets de ce processus de réécriture d’un livre à l’autre ou même de certains passages à l’intérieur d’un même ouvrage. Ces variations prennent également leurs racines dans le maniement de conventions littéraires et cinématographiques en raison de la diversité de l’œuvre de Marguerite Duras qui propose des réécritures dans des genres littéraires variés et induit une véritable réflexion sur l’écriture elle-même. Enfin, si ces variations répondent à des besoins esthétiques et stylistiques, elles prennent également racine dans la vie réelle de l’auteur puisque la dimension biographique est essentielle dans l’œuvre de Marguerite Duras. Cette recherche est segmentée en fonction des épisodes les plus fréquemment repris d’un ouvrage à l’autre et les procédés sont analysés dans la confrontation des fragments qui se font écho. / Marguerite Duras uses repetition, as a principle of writing, at the heart of most of her works and this repetition takes place at different levels: the diegesis, the style and themes chosen. Therefore, this study compares the differences between the many repetitions in the childhood narratives and analyzes narrative processes along three axes: the return of objective knowledge of an omniscient narrator, her subjective comments, and finally the introduction of different voices of the characters or of the author herself. It is in the comparison of these views, highlighted by processes within the syntax, semantics or pragmatics that are studied, as well as issues and effects of this process of rewriting from a book to another or even between passages within the same work. These changes also take their roots in the use of literary and cinematic conventions due to the diversity of the work of Marguerite Duras, offering rewritings in various literary genres, and creating a true reflection on the writing itself. Finally, if these variations meet aesthetic needs and style, they also take root in the real life of the author as the biographical dimension is essential in the work of Marguerite Duras. This research is segmented according to the most frequently repeated episodes from one book to another. Processes are analyzed in the confrontation of fragments that écho one another.

The mixed method study analyzed Florida’s 3rd grade retention policy found in F.S. 1008.25 for its rational and intended purpose. In addition, the study investigated the relationship and hypothetical impact of 3rd grade mandatory retention policy on school grades in elementary schools across the state of Florida. A critical policy analysis used policy document analysis through the lens of critical race theory. Correlation analyses investigated the relationship between the practice of holding students back in grade and the outcomes resulting from high stakes tests moderated by school characteristics of minority rate, free reduced lunch rate and Title I status. The findings show Florida Statute 1008.25 places some schools with high Minority rates, and high FRL rates in a paradoxical situation from which the schools cannot escape. All schools are obligated to enact the terms of education legislation, yet my study demonstrates a negative correlation for the “majority minority” schools (Darling-Hammond, 2010). / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection