Issued also as a Thesis (Ph. D.)--Columbia University. / Bibliography: p. 67-68.

Thesis (M.Ed.)--Kutztown University of Pennsylvania, 1980. / Source: Masters Abstracts International, Volume: 45-06, page: 2795.

In many social orders of the world the broken family core is an unfortunate and common reality, leading to an ever growing presence of homeless children, mothers, or fathers. South Africa is not a stranger to this phenomenon, despite the fact that it is viewed as a country with one of the most progressive constitutions regarding gender equality. Daily shocking statistics show a lack of family values, guidance, and respect for the human race, further emphasising a society where people and families feel no restraint in harming a child, woman or man. The South African society as a whole is losing touch with itself and government is not realizing the impact of their conveyed message of disregard, when “for every 400 rapes reported last year - 17 became official cases, 1 perpetrator was convicted and for every perpetrator convicted, 1 case docket was lost or sold.” (Internet: Access 13 February) This type of social degradation affects us all when the offenders and victims become the next string in our complicated lattice of a social fabric. If one is to see the family dynamic and children as a whole as being bound to us through the familial concept of Ubuntu, creating the link between social and family factors affecting the population as a whole, then we are all responsible in the struggle against the all too typical cycle. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

No description available.

No description available.

Yes / Purpose To record transient ERGs from the lightadapted human retina using silent substitution stimuli which selectively reflect the activity of rod photoreceptors. We aim to describe the morphology of these waveforms and examine how they are affected by the use of less selective stimuli and by retinal pathology. Methods Rod-isolating stimuli with square-wave temporal profiles (250/250 ms onset/offset) were presented using a 4 primary LED ganzfeld stimulator. Experiment 1: ERGs were recorded using a rodisolating stimulus (63 ph Td, rod contrast, Crod = 0.25) from a group (n = 20) of normal trichromatic observers. Experiment 2: Rod ERGs were recorded from a group (n = 5) using a rodisolating stimulus (Crod = 0.25) which varied in retinal illuminance from 40 to 10,000 ph Td. Experiment 3: ERGs were elicited using 2 kinds of nonisolating stimuli; (1) broadband and (2) rod-isolating stimuli which contained varying degrees of L- and M-cone excitation. Experiment 4: Rod ERGs were recorded from two patient groups with rod monochromacy (n = 3) and CSNB (type 1; n = 2). Results The rod-isolated ERGs elicited from normal subjects had a waveform with a positive onset component followed by a negative offset. Response amplitude was maximal at retinal illuminances\100 ph Td and was virtually abolished at 400 ph Td. The use of non-selective stimuli altered the ERG waveform eliciting more photopic-like ERG responses. Rod ERGs recorded from rod monochromats had similar features to those recorded from normal trichromats, in contrast to those recorded from participants with CSNB which had an electronegative appearance. Conclusions Our results demonstrate that ERGs elicited by silent substitution stimuli can selectively reflect the operation of rod photoreceptors in the normal, light-adapted human retina. / Deutsche Forschungsgemeinschaft (DFG) (KR1317/13-1) and Bundesministerium für Bildung und Forschung (BMBF) (01DN14009) provided financial support for JK.

Este trabalho se dispõe a investigar o uso da cor no cinema silencioso do Brasil. Para isso, toma como fontes documentais tanto objetos fílmicos remanescentes quanto documentação e bibliografia diversas existentes sobre o assunto. Um primeiro capítulo será dedicado aos processos de colorização existentes no cinema silencioso, de uma forma geral, e a questões técnicas e estéticas relacionadas a esses processos: o contexto histórico em que surgiram as técnicas de colorização no cinema, suas origens em meios diversos, as características dessas técnicas de colorização e sua presença nos mercados cinematográficos mais conhecidos, as questões suscitadas pelo uso da cor e seus desdobramentos. No segundo capítulo, tentaremos mapear nossa prática e nossas discussões acerca da cor nos filmes do período silencioso: quais são as informações acerca das técnicas que utilizamos e da real presença de filmes coloridos em nossas sessões cinematográficas e da cor nos filmes que estávamos produzindo? Como as questões colocadas internacionalmente ecoaram no Brasil e quais foram as questões específicas que surgiram aqui? No último capítulo, trataremos mais especificamente da análise de filmes de nossa filmografia, ou seja, dos materiais em nitrato de época colorizados ainda existentes e inspecionados para esta pesquisa. Levantaremos e discutiremos as técnicas de colorização e as funções do uso da cor encontradas nesta filmografia. / This dissertation seeks to investigate the use of color in Brazil\'s silent cinema. In order to do so, it relies on documentary sources such as remaining nitrate itens and diverse existing documentation and literature on the subject. A first chapter will be devoted to existing processes in silent film colorization, in general, and to the technical and aesthetic issues related to these processes: the historical context in which the techniques of colorization arose in film, its origins in various media, the characteristics of these techniques and its presence on the most known film markets, the issues raised by the use of color and its aftermath. In the second chapter, we will attempt to map our practice and our discussions relative to color in films of the silent era: what is the information concerning the techniques we utilize and the real presence of colored movies in our cinematographic sessions and of color in movies that we were producing? In what way the questions internationally raised echoed in Brazil and what were the specific issues that have arisen here? In the last chapter, we will deal more specifically with the analysis of movies from our filmography, that is, of the colorized nitrate itens still existing and inspected for this research. We will raise and discuss techniques for coloring and functions of the use of color found in this filmography

Este trabalho se dispõe a investigar o uso da cor no cinema silencioso do Brasil. Para isso, toma como fontes documentais tanto objetos fílmicos remanescentes quanto documentação e bibliografia diversas existentes sobre o assunto. Um primeiro capítulo será dedicado aos processos de colorização existentes no cinema silencioso, de uma forma geral, e a questões técnicas e estéticas relacionadas a esses processos: o contexto histórico em que surgiram as técnicas de colorização no cinema, suas origens em meios diversos, as características dessas técnicas de colorização e sua presença nos mercados cinematográficos mais conhecidos, as questões suscitadas pelo uso da cor e seus desdobramentos. No segundo capítulo, tentaremos mapear nossa prática e nossas discussões acerca da cor nos filmes do período silencioso: quais são as informações acerca das técnicas que utilizamos e da real presença de filmes coloridos em nossas sessões cinematográficas e da cor nos filmes que estávamos produzindo? Como as questões colocadas internacionalmente ecoaram no Brasil e quais foram as questões específicas que surgiram aqui? No último capítulo, trataremos mais especificamente da análise de filmes de nossa filmografia, ou seja, dos materiais em nitrato de época colorizados ainda existentes e inspecionados para esta pesquisa. Levantaremos e discutiremos as técnicas de colorização e as funções do uso da cor encontradas nesta filmografia. / This dissertation seeks to investigate the use of color in Brazil\'s silent cinema. In order to do so, it relies on documentary sources such as remaining nitrate itens and diverse existing documentation and literature on the subject. A first chapter will be devoted to existing processes in silent film colorization, in general, and to the technical and aesthetic issues related to these processes: the historical context in which the techniques of colorization arose in film, its origins in various media, the characteristics of these techniques and its presence on the most known film markets, the issues raised by the use of color and its aftermath. In the second chapter, we will attempt to map our practice and our discussions relative to color in films of the silent era: what is the information concerning the techniques we utilize and the real presence of colored movies in our cinematographic sessions and of color in movies that we were producing? In what way the questions internationally raised echoed in Brazil and what were the specific issues that have arisen here? In the last chapter, we will deal more specifically with the analysis of movies from our filmography, that is, of the colorized nitrate itens still existing and inspected for this research. We will raise and discuss techniques for coloring and functions of the use of color found in this filmography

Yogyakarta and Surakarta are two cities on the island of Java, Indonesia, which are considered as the centres of Javanese culture. That identity has resulted from the existence of the royal court or kraton in each of them. Both cities have shared a similar history as descendants of the Mataram kingdom, the greatest kingdom in Java, which was divided into two in 1755. Both also share a similar physical layout of the palace, shown not only in the layout of the kraton compounds, which consist of seven hierarchical courtyards, but also in the names and the functions of the courtyards and buildings. They also share similar city layouts in which the palace located at the centre, two squares each at the northern and southern end of the kraton compounds, and a royal road, create a north-south axis which is claimed to be cosmological. However, the kratons have suffered different fates in the modern era. Since Indonesian Independence in 1945, Yogyakarta has been considered to be a ‘special region’, with its territory awarded a status equivalent to a province. Also the king is automatically appointed governor, while Surakarta is only recognised as a city, which is a part of the province of Central Java. While the kraton of Yogyakarta holds importance in Yogyakarta, with the acknowledgement of territory and the king’s political role as governor, the kraton of Surakarta has no influence in the city of Surakarta. The mayor of Surakarta city is elected by the people, and even in the 2010 election a candidate from the royal family of the kraton of Surakarta lost 10:90 to a non-kraton-related candidate. The kraton of Yogyakarta has its land and property acknowledged by the state, while the kraton of Surakarta has its land and properties appropriated by the state, except the palace and some of its noble houses. The description above shows that there is a difference in power levels between both kratons. This thesis examines the background process of power, particularly those related to architecture and the built environment including arts, rituals, and culture integrated with them. Based on Bourdieu’s theory of structure/agency, I focused myself on the silent ideology of the built environment, which embodies a power structure in people’s unconsciousness through experience, in order to find out why differences in power levels occurred in two places that share a similar history and physical layouts. Using a comparative analysis, I examine in detail the silent ideology in terms of landscape, in both urban and architectural context. This silent ideology, with the support of cosmological narratives and colonial discourses, together with the accumulation of history in each of them, has a determining role in reproducing the existing power structure and continuous effort as this silent ideology helps to make sure that the existing power structures last.

No description available.