Exemplos de clusters existentes em todo o mundo comprovam a eficácia da organização empresarial em ambiente de concentração geográfica. Adotando um modelo de intervenção em clusters, a governança normalmente estabelece uma seqüência de atividades que começa pelo diagnóstico e culmina em ações conjuntas e políticas públicas. Entretanto, ao analisar os estudos de caso encontrados na literatura, verifica-se que os métodos de diagnóstico comumente adotados pela governança não estão orientados aos pilares que sustentam desenvolvimento do cluster. Isto estimulou a busca de uma resposta às perguntas: Quais são os fatores que influenciam o desenvolvimento de um cluster? Como elaborar um roteiro de diagnóstico orientado a estes fatores? Inicialmente 11 fatores que influenciam o desenvolvimento de um cluster foram encontrados e se estabelece um roteiro com questões orientadas para o diagnóstico destes fatores. Para analisar a validade destes fatores e sua aplicação para o diagnóstico em clusters, realiza-se uma pesquisa de campo, de abordagem quantitativa e qualitativa. Na pesquisa de campo, são utilizadas técnicas de observação participante e entrevistas semiestruturadas, com utilização de formulários. O procedimento é o estudo de caso, sendo realizado no cluster metal mecânico de Sertãozinho. Analisa-se a relação entre os fatores e o desenvolvimento do cluster, bem como a capacidade do instrumento em avaliar corretamente cada fator. Ao final da aplicação, o roteiro ficou composto por 10 fatores: cooperação; gestão; competição; fornecedores; instituições de apoio e governança; pessoas e conhecimento; infra-estrutura local; inovação; energia empreendedora; e cultura comunitária. A principal contribuição desta tese é o desenvolvimento de uma ferramenta que dê suporte à governança em sua pretensão de criar ações voltadas ao desenvolvimento de um cluster. / Existing examples of clusters in the whole world prove the effectiveness of the enterprise organization in environment of geographic concentration. Adopting a model of intervention in clusters, the government normally establishes a sequence of activities that starts by the diagnosis and culminates in joint actions and public policies. However, when analyzing the case studies found in literature, are verified that the most adopted method of diagnosis are not guided to the pillars that can support development of cluster. This stimulated the search of a reply to the questions: Which are the factors that influence cluster development? How to elaborate a script of diagnosis guided from these factors? Initially 11 factors that influence cluster development had been found and established a script with questions for the diagnosis of these factors. To analyze the validity of these factors and its application for the cluster diagnosis, a quantitative and qualitative field research was done. In the field research, techniques of participant comment were adopted and interviews were done using semi structuralized questionnaires. The procedure is case study, done in mechanical and metal cluster of Sertãozinho. Were analyzed the relation between the factors and cluster development, as well as the capacity of the instrument in evaluating each factor correctly. In the end of the application, the script had been composed for 10 factors: cooperation; management; competition; suppliers; support and government institutions; people and knowledge; local infrastructure; Innovation; entrepreneurship energy; and communitarian culture. The main contribution of this thesis is the development of a tool that can support the government in its pretension to create joint actions and public policies for the cluster development.

Syftet med denna studie är att undersöka hur celibat som praktiseras av unga kvinnor i en sekulär samtid kan förstås som feministisk strategi. Med utgångspunkt i individers egna subjektiva erfarenheter av sexuella praktiker och celibat har jag undersökt hur och varför celibat används som motstånd, vilken betydelse celibatet har för de som praktiserar det samt för vilka eventuella konsekvenser som uppstår av celibat, både på makro och mikronivå.   Detta undersöks genom intervjuer med fem kvinnor, som tidigare praktiserat eller praktiserar celibat. Deras subjektiva erfarenheter har bidragit med ett material som sedan har analyserats utifrån en tematisk analys med syftet att bland annat kartlägga hur sexualitet disciplineras utifrån sociala konstruktioner. Jag har kommit fram till att informanterna valt att leva i celibat som ett resultat av de rådande patriarkala sexuella scripten som tidigare disciplinerat informanternas sexuella praktiker. Celibatet kan därför betraktas som en feministisk strategi då det bland annat möjliggjort informanterna att positionera sig utanför en patriarkal heterosexuell praktik samt möjliggjort för dem att distansera sig från begäret av manlig bekräftelse.

The intent of this thesis was to write an original play and detail the writing process. Themes dealt with in Jane (or, Dug In) are family, coping with grief, survivor’s guilt, and exploration (both literal and personal). In addition to the full script, this thesis explores the inspirations for the play and its title. The play’s genre is analyzed, and reasoning is given for this selection. Included are omitted scenes from the latest draft to offer additional insight into the playwright’s previous versions. A reading of the third draft was presented and detailed in this thesis. A section about future scenes and potential projects involving this script are examined.

In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is, metaphorically speaking, a haunted house: an instance of the uncanny. This raises the possibility the film script is also uncanny, from the Freudian notion of das Unheimliche, the strangely familiar and familiarly strange - and thus also a haunted house. This proposition engenders a search as self-reflexive practice for that which haunts the script' an uncanny process to explore the uncanny. The search requires drawing on Barthes, acting 'as dead' with that process' attendant contradictions and problematics' the most likely ghost in the script being the writing self. Establishing the characteristics of the writing self involves distinguishing that figure from the author. This requires outlining the development of theories of the author from the concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as a philosophical certainty. Barthes and Foucault call this abnegation the death of the author. Rather than that marking the end of a particular branch of analysis, the death of the author can be considered an opening to the writing practice. From this perspective, the death of the author becomes a strategy in Foucault's game of writing, effecting the obfuscation of the writing self, by placing a figure as dead, the author figure, within the metaphorical topography of the text. Indeed, the author as dead is akin to a character in the narrative but at a substratum level of the text. What places this dead figure within the text is an uncanny writing self, a figure of transgression, brought into being in the experience of Blanchot's essential solitude. 'The Seaborne' written by Matt Marshall, provides an example of a film script that constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics of the film script as text type, its relative unimportance in relation to any subsequent film based on the script becomes of itself a feature of the film script. This makes the film script a site of negotiation and contestation between the implied author as hidden director on the one hand and the implied reader as implied director on the other. This confirms the film script as, using Sternberg's terminology, a blueprint text type. Examples of the negotiation and relationship between hidden director and implied director are found in analysis of 'The Seaborne' as are the tensions in the relationship between the individualistic impulses of the hidden director and the mechanistic, formal requirements of the text type as blueprint. These tensions are ameliorated by the hidden director who is then effaced within the constructed layers of the film script text to allow interpretive space for the implied director. 'The Seaborne' as representative of the film script text becomes the after-image of a written text and the foreshadowing of a future filmic one. It therefore never finds completion within its own construction process and its formation begins in templates that accord with the Bakhtin's description of the epic, as is shown by comparing the construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards the individual markers of a writing self. This writing self, referring to Kristeva, is a figure of abjection. It transgresses itself and transgresses its own transgressions. It is a ghost in a ghost story without ghosts.

This exegesis will aim to research and analyse the conventions of writing a black comedy in a feature film script. As a screenwriter with a particular interest in black comedy, my aim is to explore the technical structures of black comedy in order to facilitate the writing of a tragicomic screenplay. We will attempt to define the components of black comedy and survey its origin in theatre and literature. The exegesis will aim to explore what components comprise the middle ground between drama and humour and position it in relation to the classical genres of tragedy and comedy. The exegesis will also aim to examine the function of black comedy in relation to the psychology of the protagonist and the audience, as well as defining the characteristics of the genre in the context of Screenwriting. The exegesis will observe the film adaptation of the renowned play, Who's Afraid of Virginia Woolf? as a case study. The research will inform the writing of the feature length screenplay entitled The Actions.

Scripting languages have gained popularity in video games for specifying the interactive content in a story. Game designers do not necessarily possess programming skills and often demand code-generating tools that can transform textual or graphical descriptions of interactions into scripts interpreted by the game engine. However, in event-based games, this code generation process may lead to potential inefficiencies and conflicts if there are multiple independent sources generating scripts for the same event. This thesis presents solutions to both perils: transformations to eliminate redundancies in the generated scripts and an advisory tool to provide assistance in detecting unintended conflicts. By incorporating traditional compiler techniques with an original code-redundancy-elimination approach, the code transformation is able to reduce code size by 25% on scripts and 14% on compiled byte-codes. With the proposed alternative view, the advisory tool is suitable for offering aid to expose potential script conflicts.

REMEMBER is a film script that operates within the horror genre but touches upon the subgenre of body horror as well as the sub-subgenre of body modification/alteration. It examines psychological and sociological issues such as identity and acceptance, gender understanding and social assignment. The story follows five young women who live outside the norms of ‘acceptable’ society. After an accident near a small, isolated, rural town called Tantalus leaves them stranded with strangers, the girls soon find that something is amiss. Having arrived during a tornado just before the towns Founder’s Day festival, they discover there is more in Tantalus than meets the eye. The town is founded on a dark past which appears to be returning in a fashion. Now with a body count rising and no way to leave, the women find themselves connected to the murders. The only question that remains is how?

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This thesis combines a play, Getting Betterer all the Time, a satire about self-help, and an exegesis examining the possibilities that self-help offers for satire and why. The self-help industry has evolved into a massive social and economical phenomenon. The scope of self-help is constantly expanding, indicating a society of individuals desperate for help in all facets of life. As this movement has become more prevalent, self-help has attracted criticism for the way it thrives on the exploitation of people's insecurities. By playing to people's aspirations, many self-help practitioners have become wealthy, but there is a danger that some self-help products can have a harmful effect on people, and at best give rise to an insufferable hubris. Consequently, we have witnessed a rise in popular texts that spoof the self-help industry. The excesses of the self-help industry make it an easy target for satire. Self-help is well matched to satire's function to provide social commentary by ridicule of targets causing harm to the well-being of society. Self-help is an appropriate subject for satire because of its focus on social behavior such as modern parenting, consumerism and status anxiety. Self-help, in addition to providing these opportunities for social commentary, also offers much comedic potential.