[pt] A presente dissertação busca analisar três escritos do psicanalista austríaco Sigmund Freud que tratam da questão da religião e do seu papel civilizador: Totem e tabu (1913), O futuro de uma ilusão (1927) e Moisés e o monoteísmo (1939). Escritas após certa consolidação da psicanálise, cada uma dessas obras aborda questões diversas acerca do fenômeno religioso; não obstante, existe um claro diálogo entre elas. A partir da observação de que o desenvolvimento das ideias do autor a respeito da religião significou, também, uma complexificação de suas reflexões sobre a temática histórica, buscou-se evidenciar esse processo e relacioná-lo com conteúdos do campo da teoria da história. / [en] The present master s thesis seeks to analyze three writings of the Austrian psychoanalyst Sigmund Freud that deal with the issue of religion and its civilizing role: Totem and Taboo (1913), The Future of an Illusion (1927) and Moses and Monotheism (1939). Written after a moderate consolidation of psychoanalysis, each of these works addresses different questions about the religious phenomenon; nevertheless, there is a clear dialogue between them. Based on the observation that the development of the author s ideas about religion also meant a complexification of his reflections on the historical subject, we sought to highlight this process and to relate it to contents in the field of theory of history.

In this dissertation, I chart the conflicting and shifting assertions of meaning for Northwest Coast objects in Canada through a series of representational projects implemented between 1922 and 1961, beginning in January 1922, with the prosecution by the Department of Indian Affairs of participants in the Cranmer potlatch. The intersection between the concept of the 'fatal impact' or death of First Nations societies under European modernization, federal assimilationist policies, the government's exercise of disciplinary control, and the expansion of public museum collections was explicitly illustrated when the Lekwiltok, Mamalillikulla, and the Nimpkish peoples surrendered over seventeen cases of ceremonial objects in exchange for suspended sentences for violating the potlatch ban. The dissertation concludes by examining the Gitanyow agreement, engineered between 1958 and 1961, in which Gitanyow laws, histories and territories would be published by the government of British Columbia in exchange for the removal and replication of four crest poles. The raising of the poles' replicas in 1961 coincided with Canadian parliament's approval of the enfranchisement of First Nations people, the theoretical end to the era of assimilation in Canada. These events bookend a period in which representation continued to be entwined with politica and social conditions created by the Indian Act that depended on promulgating views that First Nations lifeways were vanishing. However, production of Northwest Coast objects retained significance throughout this period, such objects playing complex and multifaceted roles. Because of the symbolic and financial value many Euro-Canadians attached to First Nations objects, "art" proved an avenue for communicating First Nations-related social, political and economic issues. The objects produced or displayed between 1922 and 1961 operated through the projects I describe in the intertwined transformative processes of identity construction and boundary marking among individual First Nations groups and within Canadian national identity. Through these projects, important steps were taken in formulating two major characteristics of the post-1960 period: 1. a burgeoning market in Northwest Coast objects constructed as "traditional;" and 2. First Nations activism for land claims and self-determination using "tradition" and "art" as a platform in activism for land claims and self-determination.

This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.

In this dissertation, I chart the conflicting and shifting assertions of meaning for Northwest Coast objects in Canada through a series of representational projects implemented between 1922 and 1961, beginning in January 1922, with the prosecution by the Department of Indian Affairs of participants in the Cranmer potlatch. The intersection between the concept of the 'fatal impact' or death of First Nations societies under European modernization, federal assimilationist policies, the government's exercise of disciplinary control, and the expansion of public museum collections was explicitly illustrated when the Lekwiltok, Mamalillikulla, and the Nimpkish peoples surrendered over seventeen cases of ceremonial objects in exchange for suspended sentences for violating the potlatch ban. The dissertation concludes by examining the Gitanyow agreement, engineered between 1958 and 1961, in which Gitanyow laws, histories and territories would be published by the government of British Columbia in exchange for the removal and replication of four crest poles. The raising of the poles' replicas in 1961 coincided with Canadian parliament's approval of the enfranchisement of First Nations people, the theoretical end to the era of assimilation in Canada. These events bookend a period in which representation continued to be entwined with politica and social conditions created by the Indian Act that depended on promulgating views that First Nations lifeways were vanishing. However, production of Northwest Coast objects retained significance throughout this period, such objects playing complex and multifaceted roles. Because of the symbolic and financial value many Euro-Canadians attached to First Nations objects, "art" proved an avenue for communicating First Nations-related social, political and economic issues. The objects produced or displayed between 1922 and 1961 operated through the projects I describe in the intertwined transformative processes of identity construction and boundary marking among individual First Nations groups and within Canadian national identity. Through these projects, important steps were taken in formulating two major characteristics of the post-1960 period: 1. a burgeoning market in Northwest Coast objects constructed as "traditional;" and 2. First Nations activism for land claims and self-determination using "tradition" and "art" as a platform in activism for land claims and self-determination. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

The study is an archaeological biography of the G'psgolox totem pole told from the Haisla people's perspective in Canada and adopts cultural relativism and the theory of ontology to highlight their experience and perspective on the repatriation process of the G'psgolox totem pole. The research has been limited to studying the totem pole only based on an emic perceptive, the Haisla people, and departures from secondary sources consisting of films, Haisla organizations websites, and literature where they shared their experiences. For the Haisla people, the G'psgolox totem pole is not like all other totem poles erected during their traditional potlatch ceremonies. This pole was created when Hailsa culture, society, traditions, beliefs, and identity were dying out due to, among other things, the European colonization and the consequences that it brought with it, such as "The Indian Act" in Canada. This act aimed to eradicate the country's indigenous cultures and inculcate the "white way," which turned into a mass extinction threat to different First Nations in Canada, such as the Haisla people. Therefore, since its creation, the G'psgolox totem pole has immeasurable value for Haisla's people since it symbolizes survival, strengthening of Haisla's culture and identity after almost disappearing. However, the pole was taken without consent ending in Sweden, which affected Haisla society and led to a series of international events, where the Haisla people strived to repatriate the G'psgolox totem pole to its origins. Previous studies of the repatriation process have, with some exceptions, mainly adopted the Western perspective, giving only the Western reality of the events, distorting the arguments in the repatriation debate to its advantages. The study shows that Haisla has a holistic perspective on their surroundings where everything is integrated, connected, and influences each other through time and space, including tangible and intangible material and across the living and spiritual world, which differs from the Western perspective, and more when it comes to the understanding of the value of cultural heritage. Therefore, through the repatriation process, the Western beliefs clash against Haisla's reality and value over their cultural heritage. Although this, the Western way tended to dominate the whole repatriation before, during, and after the process, minimizing, in this case, the Haisla peoples perspective and the cultural value that the G'psgolox totem pole could bring to them.

This work explores how GaN devices and advanced control can improve the power density of battery chargers for the plug-in hybrid electric vehicle. Gallium nitride (GaN) devices are used to increase switching frequency and shrink passive components. An innovative DC link reduction technique is proposed and several practical design issues are solved. A multi-chip-module (MCM) approach is used to integrate multiple GaN transistors into a package that enables fast, reliable, and efficient switching. The on-resistance and output charge are characterized. In a double pulse test, GaN devices show fast switching speed. The loss estimation based on the characterization results shows a good match with the measurement results of a 500 kHz GaN-based boost converter. Topology selection is conducted to identify candidates for the PHEV charger application. Popular topologies are reviewed, including non-isolated and isolated solutions, and single-stage and two-stage solutions. Since the isolated two-stage solution is more promising, the topologies consisting of an AC/DC front-end converter and an isolated DC/DC converters are reviewed. The identified candidate topologies are evaluated quantitatively. Finally, the topology of a full bridge AC/DC plus dual active bridge DC/DC is selected to build the battery charger prototype for fixed switching-frequency, low loss, and low realization complexity. The DC link capacitor is one of the major power density barriers of the charger, as its size cannot be reduced by increasing the switching frequency. This work proposed a charging scheme to reduce the DC link capacitance by balancing the ripple power from input and output given that the double-line-frequency current causes minor impact to the battery pack in terms of capacity and temperature rise. An in-depth analysis of ripple power balance, with converter loss considered, unveils the conditions of eliminating the low-frequency DC link capacitors. PWM-zero-off charging where the battery is charged by a current at double-line-frequency and DC/DC stage is turned off at the zero level of the waveform, is also proposed to achieve a better tradeoff between the DC link capacitor size and the charger efficiency. The practical design issues are outlined and the solutions are given at different levels of implementations, including the full bridge building block, the AC/DC stage, and the DC/DC stage. The full bridge section focuses on the solution of a reliable driving and sensing circuitry design. The AC/DC stage portion stresses the modulator improvement, which solves the often-reported issues of the current spike at the zero-crossing of the line voltage for the high frequency totem-pole bridgeless converter. In the DAB section, analytical expressions are given to model the converter operation at various operating conditions, which match well with the measurement results. The overall charging-system operation including the seamless transition of bi-directional power flow and the charging-profile control is verified on a laboratory GaN charger prototype at 500 kHz and 1.8 kW with an efficiency of 92.4%. To push the power density, some bulky components including the control board, the cooling system, and the chassis are redesigned. Together with other already-verified building blocks including full bridges, magnetics, and capacitors, a high-density mock-up prototype with 125 W/in3 power density is assembled. / Ph. D.

Can the reflection of legal scholars concerning the rule of law be enriched by the cultural conception of Freud about law? This article develops this question, based on how the rule of law was conceived in modernity, from a reading of the work of Hume and Rousseau, in order to show the potential compatibility that this conception had with the later work of Freud. Thus, Freud’s thinking about law is presented as a dialectical or paradoxical civilizatory force, restraining the passions even though they drive it, from a reading of his work Totem and Taboo. In this reconstruction, the genealogy of law is portrayed, from his story of the primal horde, and unconscious dynamics behind the law itself. Then the uses that various legal scholars have made of Freud in writing about the rule of law are analyzed, criticizing how they neglect the tragic sentiment of the Freudian cultural vision regarding law. Finally, the article states that the notions developed by Freud can serve critical legal thinking only if the law is seen as part of the culture, which leads to consider legal studies as a form of cultural studies. / ¿La reflexión de los juristas sobre el gobierno del derecho puede ser enriquecida con la concepción cultural de Freud sobre el derecho? El presente artículo desarrolla esta interrogante, partiendo de cómo en la modernidad se concibió al gobierno del derecho, desde una lectura a los trabajos de Hume y Rousseau, para así mostrar la potencial compatibilidad que esta concepción tenía con la posterior obra de Freud. De este modo, se presenta el pensamiento de Freud sobre el derecho como una fuerza civilizadora dialéctica o paradójica que restringe las pasiones a pesar de que ellas lo conduzcan, desde una lectura de su obra Tótem y tabú. En esta reconstrucción se retrata la genealogía del derecho, desde su relato de la horda primitiva, y las dinámicas inconscientes que están detrás del derecho mismo. Después, se analiza los usos que le han dado a Freud diversos académicos del campo jurídico que han escrito sobre el gobierno del derecho, criticando como estos han dejado de lado el elemento trágico de la visión cultural freudiana sobre el derecho. Por último, el artículo plantea que las nociones desarrollados por Freud pueden servir al pensamiento jurídico crítico solo si el derecho es visto como parte de la cultura, lo que conlleva ver a los estudios jurídicos como una forma de estudios culturales.

Under the influence of standardly used (however, very simplified) description of Coulomb-hadronic interference proposed by West and Yennie (1968) the protons have been interpreted as "transparent" objects; elastic collisions have been interpreted as more central than inelastic ones. This property may be hardly put in agreement with the fact that in the majority of hadronic collisions many different particles have been created at high energies. Using the more general eikonal model it will be shown that the protons may be interpreted in agreement with usual conception; elastic processes being more peripheral than inelastic ones. The contemporary TOTEM experiment at the LHC accelerator in CERN devoted to measurement of elastic pp scattering and diffractive processes at the highest ever reached energies will be described. The eikonal model will be explained to greater details, generalized and applied to experimental data of elastic pp collisions under different assumptions at 52.8 GeV (older ISR data measured at CERN) and also at much higher energy of 8 TeV (new TOTEM data). The impact of different assumptions on determination of several quantities specifying hadron interaction will be studied. Mainly the assumptions influencing behaviour of elastic collisions in dependence on impact parameter of colliding...

Ecocritical theology relates to American fiction as it connects nature and spirituality. In my development of the term “neo-pastoral” I begin with Virgil’s Eclogues to serve as examples for spiritual and nature related themes. Virgil’s characters in “The Dispossessed” represent people’s alienation from the land. Meliboeus must leave his homeland because the Roman government has reassigned it to their war veterans. As he leaves Meliboeus wonders why fate has rendered this judgment on him and yet has granted his friend Tityrus a reprieve. Typically, pastoral literature represents people’s longing to leave the city and return to the spiritual respite of the country. When Meliboeus begins his journey he does not travel toward a specific geographical location. Because the gods have forced him from his land and severed his spiritual connection to nature he travels into the unknown. This is the starting point from which I develop neo-pastoral threads in contemporary literature and discuss the alienation that people experience when they are no longer connected to a spirit of the land or genius loci. Neo-pastoralism relates Bakhtin’s idea of chronotope and the expansion of the narrative voice of the novel to include the time/space dialogic. Neo-pastoral fiction shows people in their quest to find spirituality in spite of damage from chemical catastrophic events and suggests they may turn to technology as an ideological base to replace religion. The (anti) heroes of this genre often feel no connection with Judeo-Christian canon yet they do not consider other models of spirituality. Through catastrophes related to the atomic bomb, nuclear waste accidents, and the realization of how chemical pollutants affect the atmosphere, neo-pastoral literature explores the idea of apocalypticism in the event of mass annihilation and the need for canonical reformation. The novels explored in this dissertation are John Updike’s Rabbit, Run; Thomas Pynchon’s The Crying of Lot 49; Bernard Malamud’s The Fixer; Don DeLillo’s White Noise; Leslie Marmon Silko’s Almanac of the Dead; Toni Morrison’s Paradise; and Cormac McCarthy’s The Road.