Univ., Diss.--Zürich, 2006.

Thesis (M. Sc.)--University of Hong Kong, 1999. / Includes bibliographical references.

Made available in DSpace on 2015-05-15T11:46:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 435456 bytes, checksum: c38ab9cb93018e6c4d934dde6c174c07 (MD5) Previous issue date: 2012-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present dissertation furnishes a detailed study about modules of logarithmic derivations, here dubbed tangential idealizers, and some of their main features. Initially, several comparisons between such modules are investigated starting from sufficiently related ideals, motivated by a previous study due to Kaplansky as well as by their close relationship with the classical theory of differential ideals of Seidenberg. We then obtain the first central result, which describes a primary decomposition of the tangential idealizer of an ideal without embedded primary component. Finally, in the second main result, we explore the structure of the derivation module for the class of Stanley-Reisner rings, thus corresponding to tangential idealizers of monomial ideals. An application of such a result is an affirmative answer for the homological Zariski-Lipman conjecture for the present class of rings. / A presente dissertação fornece um estudo detalhado sobre módulos de derivações logarítmicas, aqui denominados idealizadores tangenciais, bem como algumas de suas principais características. Inicialmente, várias comparações entre tais módulos são investigadas, a partir de ideais suficientemente relacionados, motivadas por um estudo prévio de Kaplansky e por sua estreita relação com a clássica teoria dos ideais diferenciais de Seidenberg. Em seguida obtém-se o primeiro resultado central, que descreve uma decomposição primária do idealizador tangencial de um ideal sem componente primária imersa. Finalmente, no segundo resultado principal, é explorada a estrutura do módulo de derivações para a classe de anéis de Stanley- Reisner, correspondendo portanto a idealizadores tangenciais de ideais monomiais. Uma aplicação de tal resultado é a resposta afirmativa para a conjectura homológica de Zariski-Lipman para a presente classe de anéis.

Master of Music / Department of Music / Frank C. Tracz / This document is written in support of a conducting recital given in partial fulfillment of the Master’s of Music Education with an Emphasis in Instrumental Conducting at Kansas State University. It encompasses the historical research, theoretical analysis, and rehearsal recommendations and considerations necessary to prepare the selected works for performance. The pieces analyzed are Michael Daugherty’s Motown Metal, Stanley Leonard’s Antiphonies, and Ira Hearshen’s second movement, “after the Thunderer” from Symphony on Themes of John Philip Sousa. I seek to highlight the significance of these works to the literature of their mediums, and show how they are valuable pieces of literature in the contemporary repertoire. In addition, I offer my philosophies on music learning and literature selection as a means to better understand the process entailed in laying the groundwork for successful authentic learning experiences for conductor and students.

Making use of algebraic and combinatorial techniques, we study two topics: the arithmetic degree of squarefree strongly stable ideals and the h-vectors of matroid complexes. For a squarefree monomial ideal, I, the arithmetic degree of I is the number of facets of the simplicial complex which has I as its Stanley-Reisner ideal. We consider the case when I is squarefree strongly stable, in which case we give an exact formula for the arithmetic degree in terms of the minimal generators of I as well as a lower bound resembling that from the Multiplicity Conjecture. Using this, we can produce an upper bound on the number of minimal generators of any Cohen-Macaulay ideals with arbitrary codimension extending Dubreil’s theorem for codimension 2. A matroid complex is a pure complex such that every restriction is again pure. It is a long-standing open problem to classify all possible h-vectors of such complexes. In the case when the complex has dimension 1 we completely resolve this question and we give some partial results for higher dimensions. We also prove the 1-dimensional case of a conjecture of Stanley that all matroid h-vectors are pure O-sequences. Finally, we completely characterize the Stanley-Reisner ideals of matroid complexes.

There have been many studies of Victorian asylums and their inmates, but the Edwardian asylum, and child inmates, have been largely unrepresented. This thesis attempts to redress these imbalances and contribute to the history of mental deficiency by describing the innovations, developments, and practices within the West Riding Pauper Lunatic Asylum (WRPLA) and its annexe, Stanley Hall. As part of the Poor Law system Stanley Hall took in idiot and imbecile boys as young as three years, where, as part of the response of alienists towards mentally deficient children, an attempt was made to educate them to a degree of self- sufficiency. In this way Stanley Hall was an institution that went beyond its perception as a custodial establishment and practised new approaches to care, at a time when these boys were defined within the Poor Law under the universal category of 'lunatic'. This study focuses on the role of William Bevan Lewis, the Medical Superintendent of the WRPLA (1884-1910), and the 163 idiot and imbecile boys admitted to Stanley Hall between 1901 and 1910. Consideration is given to the early dissemination of knowledge from this asylum and its influence through the teaching and training of medical students and asylum medical officers. The function and operation of Stanley Hall and the 'experiences' of the inmates is explored through institutional records and the evidence of Bevan Lewis to the Royal Commission on the Care and Control of the Feeble-minded (1905-1908). Stanley Hall pre-dated other mental deficiency colonies and anticipated the conclusions of the Royal Commission which recommended specialised care for mentally deficient children. Issues of care for this group were intensely debated during the Edwardian period leading to the Mental Deficiency Act (1913) that defined this group and influenced their care for almost another fifty years. The records of Stanley Hall demonstrate the individuality of the boys, and allow the analysis of the involvement of their families in the committal of their children. The subsequent involvement (or lack thereof) in the care of their children is also examined. The ultimate fates of the boys are considered, and an attempt made to bring the regime at Stanley Hall 'back to life'.

The purpose of this study is to examine the position of twentieth century American poetry at the mid-point of the century to ascertain whether contemporary poetry--poetry written in the fifties and sixties--has been justly relegated to the obscure position which it now occupies.

Thesis advisor: John Michalczyk / Stanley Kubrick explored and subverted the concept of American Myth throughout his filmography. American Myth may include the notion of social mobility (the American Dream), the archetypal gunslinger of the American West, the righteousness of a democratic system, a belief in social egalitarianism, and explicit foreign policies such as the Monroe Doctrine and the idea of Manifest Destiny. Kubrick’s Paths of Glory is an indictment of modern war and the commoditization of human lives. Dr. Strangelove demonstrates a uniquely American obsession with technology, proving innovation is not always progress. Finally, with Full Metal Jacket, Kubrick shows Vietnam has supplanted the West as America’s frontier, complete with gunplay between cowboys and native inhabitants. / Thesis (BA) — Boston College, 2011. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Film Studies.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-09T12:34:10Z No. of bitstreams: 1 Caio M. G. de Carvalho.pdf: 8716173 bytes, checksum: a37768758afe3bd0af36512c2257add3 (MD5) / Made available in DSpace on 2018-08-09T12:34:10Z (GMT). No. of bitstreams: 1 Caio M. G. de Carvalho.pdf: 8716173 bytes, checksum: a37768758afe3bd0af36512c2257add3 (MD5) Previous issue date: 2018-06-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Based on the filmography of the director Stanley Kubrick (short-films excluded), the present work focuses on exposing and analyzing a framework of intertextual relations (our empiric object) which are established movie-by-movie, from the point where it is allowed to suppose a metaphoric code through Kubrick’s filmography. It was aimed to demonstrate how this intertextual network reveals an ‘own’ Kubrickian code (defined as idiolet in his filmography), by gathering the filmmaker’s thirteen full-length movies (our study corpus) and correlating them to several metaphorical amalgams with the <<death>> sememe. It is defined as ‘intertext’ the different matching relations of content between equal (as in film-to-film) or different (as in a film to a strictly verbal text) semiotic systems – which permitted us to consider this concept as a synonym of ‘intersemiotics’, which its base of functioning lies in the umbertian definition of ‘sign-function’ (our number 1 epistemological object). At the end of the display of this intertextual network (or intersemiotics), it has been pursued a critical interpretation in relation to what this idiolet can tell us about Stanley Kubrick’s cinema. Therefore, it is proposed – under the optics of metaphor (our number 2 epistemological object) and the intertext it establishes in the filmmaker’s work – different forms to address the North-American director’s filmography. The theoretic-methodological basis is guided by Umberto Eco’s semiotics – a theorist who has always shown commitment to study mechanisms which impose, allow (and that also limit, one could say) the different levels of reading offered through the result of any aesthetical use of language, such as film or literature. This work is also based on informed readings about cinema, and of course, Stanley Kubrick’s cinema as well / Voltada à filmografia do diretor Stanley Kubrick (excetuando seus curtas-metragens), esta pesquisa busca expor e analisar um quadro de relações intertextuais (nosso objeto empírico) que nela se estabelecem, de filme a filme, a partir do qual se permite supor um código metafórico ao longo do conjunto da obra deste diretor. Procura-se demonstrar como esta rede intertextual revela um código ‘próprio’ kubrickiano (definido como um idioleto na filmografia) a unir os treze longas-metragens do cineasta (nosso corpus de estudo) em torno de vários amálgamas metafóricos com o semema <<morte>>. Define-se como ‘intertexto’ as diferentes relações de correspondência de conteúdo entre sistemas semióticos iguais (como de filme a filme) ou diferentes (como de filme a um texto estritamente verbal) – o que nos permite tratar este conceito como sinônimo de ‘intersemiótica’, cuja base de funcionamento repousa na definição umbertiana de ‘função sígnica’ (nosso objeto epistemológico nº 1). Busca-se, ao final da exposição desta rede intertextual (ou intersemiótica), uma interpretação crítica a respeito do que este idioleto pode nos dizer sobre o cinema de Stanley Kubrick. Dessa forma, propõe-se – sob a ótica da metáfora (nosso objeto epistemológico nº 2) e do intertexto que ela funda na obra do cineasta – outras maneiras de abordar a filmografia deste diretor norte-americano. A fundamentação teórico-metodológica pauta-se na semiótica de Umberto Eco – teórico que sempre se mostrou empenhado em estudar os mecanismos que impõem, que permitem (e que também, diga-se não de passagem, represam) os diferentes níveis de leitura oferecidos pelo resultado de qualquer uso estético da linguagem, como o uso fílmico ou literário. Pautamo-nos, também, em abalizadas leituras sobre cinema e, claro, sobre o cinema de Stanley Kubrick

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