Previous research on Sumi, a Tibeto-Burman language spoken in the extreme northeast of India, has found it to have three lexical tones. However, the few phonological studies of Sumi have focused mainly on its segmental phonology and have failed to provide any substantial account of the tone system. This thesis addresses the issue by providing the first comprehensive description of tone in this language. In addition to confirming three contrastive tones, this study also presents the first acoustic phonetic analysis of Sumi, looking at the phonetic realisation of these tones and the effects of segmental perturbations on tone realisation. The first autosegmental representation of Sumi tone is offered, allowing us to account for tonal phenomena such as the assignment of surface tones to prefixes that appear to be lexically unspecified for tone. Finally, this investigation presents the first account of morphologically conditioned tone variation in Sumi, finding regular paradigmatic shifts in the tone on verb roots that undergo nominalisation. / The thesis also offers a cross-linguistic comparison of the tone system of Sumi with that of other closely related Kuki-Chin-Naga languages and some preliminary observations of the historical origin and development of tone in these languages are made. This is accompanied by a typological comparison of these languages with other Tibeto-Burman languages, which shows that although these languages are spoken in what has been termed the ‘Indosphere’, their tone systems are similar to those of languages spoken further to the east in the ‘Sinosphere’. Finally, a more global typological comparison of Sumi with ‘African’ and ‘East Asian’ tone languages demonstrates that Sumi displays features typically associated with both these language ‘types’. This finding suggests the need to re-evaluate this traditional dichotomy of tone systems, and the need to consider morphological structure in typologies of tone.

This study attempted to determine if there is a relationship between user's psychological personality types, measured by the Myers Briggs Type Indicator® (MBTI®) and distinct measures of usability measured by the Software Usability Measurement Inventory (SUMI). The study was expected to provide an answer to the following basic research question: When interacting with a typical user interface, do different users perceive usability differently? Specific hypotheses were formulated to answer this research question. Hypotheses were tested to determine if there was any statistically significant relationship between specific MBTI® personality types and individual measure of usability as measured by the SUMI. Each hypothesis was tested using ANOVA analysis in two ways. The 16 MBTI® types were condensed together using two letters of the full MBTI® type. First, the data was grouped by MBTI® function pair: STs, SFs, NFs and NTs, then by Keirsey temperament: SJs, SPs, NFs and NTs. By grouping data, the effects of small numbers of certain individual types from the sample should be minimized. When grouping by MBTI® function pair statistical analysis indicated all six hypotheses were supported, indicating no significant relationship between personality type as measured by the MBTI®, and usability as measured by the SUMI in this sample. When grouping by Keirsey temperament, statistical analysis indicated five hypotheses were supported, indicating no significant relationship between personality type as measured by the MBTI®, and usability as measured by the SUMI in this sample. Data analysis showed a significant relation between MBTI® personality type and the SUMI sub-scale of Helpfulness in this sample. Since only a limited relationship was found between MBTI® types and SUMI usability scales, developers may need to rethink the process of including individual differences as a component of interface design, at least based on personality. However, this study used only one measure of personality- the MBTI®. Different personality measures could offer different results. Finally, this research provided another analysis of how the typical computer user envisions usability and provides a basic summary of usability scales by personality MBTI® types.

Alberta Health Services (AHS) has introduced e-learning for health professionals to expand their existing training, offer flexible web-based learning opportunities, and reduce training time and cost. This study is designed to evaluate the usability and usefulness of an e-learning module for a patient clinical information system scheduling application. A cost-effective framework for usability evaluation has been developed and conceptualized as part of this research. Low-Cost Rapid Usability Engineering (LCRUE), Cognitive Task Analysis (CTA), and Heuristic Evaluation (HE) criteria for web-based learning were adapted and combined with the Software Usability Measurement Inventory (SUMI) questionnaire. To evaluate the introduction of the e-learning application, usability was assessed in two groups of users: frontline users and informatics consultant users. The effectiveness of the LCRUE, CTA, and HE when combined with the SUMI was also investigated. Results showed that the frontline users are satisfied with the usability of the e-learning platform. Overall, the informatics consultant users are satisfied with the application, although they rated the application as poor in terms of efficiency and control. The results showed that many areas where usability was problematic are related to general interface usability (GIU), and instructional design and content, some of which might account for the poorly rated aspects of usability. The findings should be of interest to developers, designers, researchers, and usability practitioners involved in development of e-learning systems. / Graduate / 0769 / 0984 / 0541 / tdafalla@uvic.ca; tdafalla@gmail.com

This doctoral thesis explores the entanglement of religion and identity politics in the Indo-Burma borderlands and the indigenisation of Christianity there through grassroots processes of cultural revivalism. The ethnographic focus is on the Sumi Naga from the state of Nagaland in Northeast India. While the Sumi started converting to Baptist Christianity at the beginning of the twentieth century, conversion rates accelerated especially in the 1950s and again in the 1970s when two evangelical revivals swept across the lands of the Sumi and resulted in their conversion en masse. Significantly, these Great Revivals coincided in time with the most turbulent political history of this borderland region, as the Sumi, alongside all other Naga, were waging an armed struggle against the Indian nation-state for their right to self-determination and independence. While this struggle is now largely being fought with political rather than military means, it remains ideologically motivated by Naga perceptions of their distinct ethnic identity, history and culture compared to the rest of India. Baptist Christianity has played a central role in shaping and sustaining these perceptions. Over the past several decades following the Second Great Revival in the 1970s there has been a movement from within Sumi society to reconstruct and redefine their identity by drawing heavily on both their contemporary religion (Baptist Christianity) and their 'good' pre-Christian culture, which had been demonised and rejected in the course of earlier conversions. Discourses have been circulating in public space on the urgent need to reconceptualise collective Sumi identity by reviving, or preserving, those aspects of pre-Christian Sumi culture that are perceived as 'good' and constitutive of Sumi-ness but are currently 'under threat' of being gradually lost to modernity and foreign influences. These discourses are directly linked to processes of cultural revivalism across Nagaland, which have been motivated by a sense of the perceived loss of 'good' cultural heritage and cultural roots. This thesis is an ethnographic study of these processes of identity (re)construction within a Sumi Naga community. It sets out to examine the ways in which Baptist Christianity is central to everyday life in a Sumi village and how it plays an important role in forging group cohesion and solidarity through ritual practice and various forms of fellowship. The thesis then proceeds to study the phenomenon of cultural revivalism in both its discursive and practical manifestations. The thesis argues that the cultural revival has not reduced the centrality of Baptist Christianity to Sumi self-ascriptions and perceptions of identity, but is rather thought to have enriched it and given it a stronger cultural foundation. Hence, a Sumi Naga Christianity is being created which is perceived as unique, indigenous and distinct in its own right. The thesis attempts to explore the essence of this vernacular Christianity against the backdrop of its specific historical, economic, political and spiritual context and the all-encompassing Naga struggle against the Indian nation-state. In pursuing these issues, the thesis locates itself within debates on the intersection between religion and identity politics, which prevail in many contemporary contributions to the anthropology of Christianity.

[EN] We begin at chapter 1, an introduction to the formulation of the hypothesis, we mention the history and current status of the topic, as well as a presentation of the contents. At chapter 2, we expose a detailed discussion of the methodology, based on the seven characteristics of Zen painting discoverd by Shinishi Hisamatsu. These characteristics are: 1 - Asymmetry, 2 - Simplicity, 3 - Austere Sublimity or Lofty Dryness, 4 - Naturalness, 5 - Subtle Profundity or Deep Reserve, 6 - Freedom from Attachment, and 7 - Tranquility. At the 2.1 the essential elements of philosophy and practice of Zen Buddhism and Taoism are established. At chapter 3, we analyze four Chinese artists and three Japanese artists as examples of the seven characteristics of Zen painting. Some biographical information of the painters is exposed, especially that connected with the artistic production and the practice of Zen. At the 3.1 we study the first two principles of Chinese painting by Hsie He, they are important to understand the Chinese traditional painting's aesthetic: 1 - Circulation of the ch'i produces life movement, 2 - Brush creates structure. We see these first two principles, as fundamental to the traditional Chinese painting, ch'i or life energy, is not found in the external appearance of objects, this ch'i, is transmitted through the structural brushstrokes in which the opposites yin-yang are involved. We analyze how these principles are linked with characteristics of Zen painting such as Simplicity, Naturalness and Tranquility, as well as with the expression of the Formless Self. Thus in 3.2, we enter into the analysis of the art works of two Chinese painters of the Southern Song Dynasty who embodied and shaped the Zen aesthetic: Mu Xi and Liang Khai. At the 3.3, we explore the art works of Shitao and Zhu Da and, with the help of the seven characteristics. In Shitao we also analyze fragments of his theoretical texts, and the formulation of the concept of the single brushstroke. At the 3.4, we see the art works of the Japanese painter Sesshu T¿y¿ and we analyze three fundamental styles: one more detailed and soft, another of thick lines, hard and more energetic, and a third one, synthetic and spontaneous called hatsu boku or splashed ink. At the 3.5 we study the Japanese painters Hakuin Ekaku and Sengai Gibon. The 4 is a support chapter, an introduction to some Western works of the twentieth century where the seven characteristics of Zen painting are evident. At the 5 we study the mainly monochromatic paintings of Tomás Sánchez and Leandro Soto on the light of Zen painting's characteristics. We also expose an aesthetical link with the Chinese and Japanese paintings analyzed in previous chapters. At the art works of Tomás Sánchez we can see a better relationship with the Simplicity, the Austere Sublimity or Lofty Dryness and the Subtle Profundity or Deep Reserve, while at the art works of Leandro Soto, we appreciate more the Asymmetry, Naturalness and Freedom from Attachment. Excerpts from an interview with each of the artists, are a corroboration of the above criteria. Finally, chapter 6 is dedicated to art works by the author of this thesis, in which the seven characteristics are found. It is introduced with an explanation of the practice of sumi-e ink painting, which is summarized in three stages of the practice: 1 - beginning full of illusions, ingenuity and a certain arrogance, 2 - intensive practice of rules and discipline, 3 - forgetting about oneself and overcoming the rule. At chapter 7 we explain the conclusions in order to corroborate the initial hypothesis. / [ES] Comenzamos en el apartado 1 de introducción con la formulación de la hipótesis, mención de los antecedentes y estado actual del tema, así como una exposición de los contenidos. En el 2, aparece una exposición detallada de la metodología a utilizar, basada en las siete características de la pintura vinculada al Zen de Shinishi Hisamatsu. Estas características son las siguientes: 1 - Asimetría, 2 - Simplicidad, 3 - Austera Sublimidad o Majestuosa Sequedad, 4 - Naturalidad, 5 - Sutil Profundidad o Reserva Honda, 6 - Libertad de Apegos, y 7 - Tranquilidad. En el apartado 2.1 se exponen elementos esenciales de la filosofía y la práctica del Budismo Zen, así como su vinculación al Taoísmo. En el apartado 3, se analizan obras de cuatro pintores chinos y tres japoneses donde se evidencian las siete características de la pintura vinculada al Zen. Se presentan algunos datos biográficos de los autores, especialmente los que tengan que ver con la producción pictórica y su vinculación a la práctica del Zen. Previamente en el 3.1, estudiamos los dos primeros principios de la pintura china de Hsie He, éstos son necesarios para la comprensión de la estética pictórica china tradicional: 1 - La circulación del ch'i produce el movimiento de la vida, 2 - El pincel crea la estructura. Vemos mediante estos dos primeros principios, como lo fundamental para la pintura china tradicional, es la captación del ch'i o energía vital, y no la apariencia externa de los objetos, este ch'i, es transmitido gracias a la pincelada estructural en la cual está implicada la dualidad de opuestos yin-yang. Analizamos como estos principios están vinculados con características de la pintura Zen como la Simplicidad, la Naturalidad y la Tranquilidad, así como con la expresión del Ser Sin Forma. De este modo en el 3.2, entramos en el análisis de obras de dos pintores chinos de la dinastía Song del Sur que encarnaron y dieron forma a la estética Zen: Mu Xi y Liang Khai. En el 3.3, exploramos obras de Zhu Da y Shitao, a la luz de las siete características. De Shitao vemos también fragmentos de sus textos teóricos, y la formulación del concepto de pincelada única. En el 3.4, vemos la obra del pintor japonés Sessh¿ T¿y¿, se muestran tres estilos fundamentales que en su versátil producción creó este maestro: uno más detallado, suave, de trazos diluidos, otro de líneas gruesas, duro, seco, definido, y uno sintético y espontáneo llamado hatsu boku o de tinta salpicada. Estudiamos en el 3.5 obras de los también japoneses Hakuin Ekaku y Sengai Gibon y su relación con el género zenga, literalmente pintura Zen. El apartado 4 es un capítulo de apoyo, una introducción a algunas obras occidentales del siglo XX donde se evidencian las siete características de la pintura vinculada al Zen. En el 5 entramos en el análisis de pinturas con predominio monocromático a la luz de las siete características de Tomás Sánchez y Leandro Soto. Vemos cómo se manifiestan vínculos estéticos con las pinturas chinas y japonesas analizadas en apartados anteriores. Finalmente, el capítulo 6, está dedicado a obras producidas por el autor de esta tesis, en las cuales están presentes las siete características. Se introduce con un texto sobre los procesos de la práctica del arte del pincel y la tinta, el cual se resume en tres etapas: 1 - comienzos llenos de ilusiones, ingenuidad y cierta arrogancia, 2 - práctica intensiva de las reglas y la disciplina, 3 - olvido de sí mismo y superación de la regla. En el apartado 7 vemos las conclusiones con un resumen. / [CA] Comencem en l'apartat 1 d'introducció amb la formulació de la hipòtesi, menció dels antecedents i estat actual del tema, així com una exposició dels continguts. En el 2, apareix una exposició detallada de la metodologia a utilitzar, basada en les set característiques de la pintura vinculada al Zen de Shinishi Hisamatsu. Estes característiques són les següents: 1 - Asimetria, 2 - Simplicitat, 3 - Austera Sublimitat o Majestuosa Sequedat, 4 - Naturalitat, 5 - Subtil Profunditat o Reserva Fonda, 6 - Llibertat d'Afeccions, i 7 - Tranquil¿litat. En l'apartat 2.1 s'exposen elements essencials de la filosofia i la pràctica del Budisme Zen, així com la seua vinculació al Taoisme. En l'apartat 3, s'analitzen obres de quatre pintors xinesos i tres japonesos on s'evidencien les set característiques de la pintura vinculada al Zen. Es presenten algunes dades biogràfiques dels autors, especialment els que tinguen a veure amb la producció pictòrica i la seua vinculació a la pràctica del Zen. Prèviament en el 3.1, estudiem els dos primers principis de la pintura xinesa de Hsie He, estos són necessaris per a la comprensió de l'estètica pictòrica xinesa tradicional: 1 - La circulació del ch'i produïx el moviment de la vida, 2 - El pinzell crega l'estructura. Veiem per mitjà d'estos dos primers principis, com el més important per a la pintura xinesa tradicional, és la captació del ch'i o energia vital, i no l'aparença externa dels objectes, este ch'i, és transmés gràcies a la pinzellada estructural en la qual està implicada la dualitat d'oposats yin-yang. Analizamos com estos principis estan vinculats amb característiques de la pintura Zen com la Simplicitat, la Naturalitat i la Tranquil¿litat, així com amb l'expressió del Ser Sense Forma. D'esta manera en el 3.2, entrem en l'anàlisi d'obres de dos pintors xinesos de la dinastia Song del Sud que van encarnar i van donar forma a l'estètica Zen: Mu Xi i Liang Khai. En el 3.3, explorem obres de Zhu Da i Shitao, a la llum de les set característiques. De Shitao veiem també fragments dels seus textos teòrics, i la formulació del concepte de pinzellada única. En el 3.4, veiem l'obra del pintor japonés Sessh¿ T¿y¿, es mostren tres estils fonamentals que en el seu versàtil producció va crear este mestre: un més detallat, suau, de traços diluïts, un altre de línies grosses, dur, sec, definit, i un sintètic i espontani cridat hatsu boku o de tinta esguitada. Estudiem en el 3.5 obres dels també japonesos Hakuin Ekaku i Sengai Gibón. L'apartat 4 és un capítol de suport, una introducció a algunes obres occidentals del segle XX on s'evidencien les set característiques de la pintura vinculada al Zen. En el 5 entrem en l'anàlisi de pintures amb predomini monocromàtic a la llum de les set característiques de Tomás Sánchez i Leandro Soto. Veiem com es manifesten vincles estètics amb les pintures xineses i japoneses analitzades en apartats anteriors. En les obres de Tomás Sánchez podem veure una major relació amb la Simplicitat, l'Austera Sublimitat, la Reserva Fonda i la Tranquil¿litat, mentres que en els treballs de Leandro Soto, s'aprecien més la Asimetria, la Naturalitat i la Llibertat d'Afeccions. Finalment, el capítol 6, està dedicat a obres produïdes per l'autor d'esta tesi, en les quals estan presents les set característiques. S'introduïx amb un text sobre els processos de la pràctica de l'art del pinzell i la tinta, el qual es resumix en tres etapes: 1 - començaments plens d'il¿lusions, ingenuïtat i una certa arrogància, 2 - pràctica intensiva de les regles i la disciplina, 3 - oblit de si mateix i superació de la regla. En l'apartat 7 veiem les conclusions amb un resum del camí seguit per a arribar a corroborar la hipòtesi inicial. / Fuentes González, R. (2015). INFLUENCIAS ZEN DE LAS PINTURAS MONOCROMAS ORIENTALES EN OBRAS DE LOS ARTISTAS CUBANOS TOMÁS SÁNCHEZ, LEANDRO SOTO, Y RUBÉN FUENTES [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/53631