Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: Richard J. Braun, Dept. of Mathematical Sciences. Includes bibliographical references.

The aim of this essay is to examine how men is portrayed in three short stories, ”En omvändelsehistoria”, ”Far och son” and ”Jeppa”, from the debut Från Skåne by Victoria Benedictsson. I also investigate the ideas of masculinity during the 1880s. Unmanliness, paternity and manly tears are other concepts that I have been examining with close–reading as the method. The essay begins with a short recap of the earlier research about Benedictsson. Her debut as well as the perspective of masculinity on the work of female authors has been almost ignored by the academic sphere and my aim was to do something about it. Firstly, I discuss unmanliness in the peasant culture, secondly, paternity and absence and thirdly, unmanliness and manly tears. My result shows that the different ideas of masculinity affect the characters in many ways. For example, the elderly in the stories mostly falls down in unmanliness. I have come to the conclusion that the fear of being unmanly urge the men, or the boys, to act manly and follow the ideals.

Thesis (Ph.D.)--University of Delaware, 2008. / Principal faculty advisor: Tobin A. Driscoll, Dept. of Mathematical Sciences. Includes bibliographical references.

Thesis (Ph.D.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed on Sept 9, 2009). Includes bibliographical references (p. 120-125).

Cette étude aborde le thème de l’émotion musicale d’une perspective anthropologique. Elle se base sur deux hypothèses centrales. La première est que la musique offre un moyen privilégié pour comprendre les émotions au sein d’une société donnée. La seconde suppose qu’une ethnographie focalisée sur les affects permet d’expliquer quelles significations les membres d’une communauté accordent à leurs pratiques musicales. Les Tsiganes de Ceuaş, petit village de Transylvanie centrale, disent que « la bonne musique est celle qui fait pleurer ». Cette expression n’a rien d’anecdotique : lors des mariages, funérailles, baptêmes, fêtes familiales, les musiciens peuvent pleurer en jouant, tout comme leurs auditeurs en les écoutant. L’analyse de ces circonstances de « pleurs musicaux » aboutit à deux résultats principaux. D’une part un modèle qui se base sur trois modes différents de production de l’émotion musicale : 1) la « fabrication » en service professionnel, où il s’agit de parvenir à toucher les clients ; 2) l’« expression » à l’occasion des fêtes spontanées entre Tsiganes, où les musiciens eux-mêmes pleurent en jouant ; 3) le « partage » lors des funérailles, où les « proches » (neamuri) du défunt engagent les « éloignés » (străini) sur le plan de l’affect. D’autre part elle permet l’identification de trois invariants de l’émotion musicale, présents à chaque occasion où l’on pleure avec la musique : une esthétique sonore du « chagrin » (jale) ; des associations entre mélodies et personnes particulières ; et une qualité du sujet (la milă, « compassion, pitié »), que les Tsiganes perçoivent comme identitaire. Les acquis du terrain sont interrogés à un niveau théorique, dans l’objectif de dégager quelques pistes de réflexion autour de la notion d’empathie – traduction la plus générale du mot milă – et de son utilité dans le domaine musical. / This study explores musical emotion from an anthropological perspective. It rests upon two central hypotheses. First, music provides a particularly clear way of understanding how emotions function within a given society. Conversely, an ethnography focused on affects helps us uncover the meanings that community members ascribe to their music.According to the Gypsies of the small central central-Transylvanian villlage of Ceuaá, "music is good when it makes tou cry". This expression is not merely metaphorical: at weddings (Gypsy or otherwise), funerals, baptisms, and other family celebrations, musicians and listeners alike often cry during a performance.Two conclusions may be drawn from an investigation of these musical tears. On the one hand, a tri-partite model emerges of how musical emotion is produced: professional poeisis, whose goal is to move the customers to tears; expression during spontaneous celebrations among Gypsies, in which the musicians themselves cry while playing; and the sharing that takes place during funerals, in which "those who are close" (neamuri) to the deceased person affectively draw in "those who are distant" (străini). On the other hand, three constants of musical emotion are made apparent : 1) the musical aesthetics of grief (jale); 2) associations between melodies and specific persons and 3) and a universal human quality (milă, ‘compassion’, ‘pity’) that Gypsies consider to be proper to their culture.All of these findings are brought under a theoretical lens, with the end of clarifying the notion of empathy (which is perhaps the best all-around translation of milă) and how it functions in musical practice.

Made available in DSpace on 2017-07-10T18:56:29Z (GMT). No. of bitstreams: 1 Silvana Nath.pdf: 2325401 bytes, checksum: c253044026bceda0219ada06bf8434f2 (MD5) Previous issue date: 2011-02-10 / This study is lined on literary and filmic Anna Karenina, The Lady of the Camellias and Luciola, in which settles the relationship between their respective characters with pictures of some women considered saints by the catholic church, whose cutting focuses on themes of love, pain, tears, memory, forgetting, ecstasy and death. We seek to understand how the pain and tears are feelings that produce ambiguity in his senses, because while they reported suffering also expressed pleasure, joy and ecstasy. The pain is bound the memories of the past, or is the manifestation of memory in their minds by showing them the impossibility of permanence, or even future in society to which they belong. On the other hand, this also causes them feeling happy and ecstasy to visualize themselves as victims of the social environment. Analyse the image of women suffering, whose suffering comes from unrequited love, or even the inability to love and be loved in a complete and integrated. Renounce love, but the manifestation of the memory torments and carries its own self-punishment, because the trials and tribulations leading characters to self-condemnation that triggers recall, this represents traces the process of forgetting, by which they must pass to be delivered from sin and purified by love. To achieve oblivion in its completeness that need to undergo the death, in this context will also be undertood as the morality of society, in wich the heroine must die to not tarnish the image of the other women in the social context to which they belong. Finally, the analysis of this research focuses on the intersection between the female characters found in different works of art, namely, the literary, filmic, paintings and sculptures that allow us to examine and reflect upon the themes of pain and tears, death and the manifestation of memory and forgetfulness in different social and historical contexts involving different characters, in order to understand how the tears and pain performing the cleansing power by bringing them hope and regeneration of life after death, according to preach catholicism. / Este estudo está pautado nas obras literárias e fílmicas Anna Karenina, A Dama das Camélias e Lucíola, em que se estabelece a relação entre as respectivas personagens com as imagens de algumas mulheres consideradas santas pela igreja católica, cujo recorte centra-se nos temas do amor, da dor, das lágrimas, da memória, do esquecimento, do êxtase e da morte. Busca-se compreender como a dor e as lágrimas são sentimentos que produzem ambiguidade em seus sentidos, pois, ao mesmo tempo em que reportam ao sofrimento, também exprimem o prazer, o gozo e o êxtase. A dor está vinculada às lembranças do passado, ou seja, é a manifestação da memória em suas consciências mostrando-lhes a impossibilidade de permanência, ou mesmo de futuro na sociedade à qual pertencem. Por outro lado, esse sentimento também lhes causa prazer e êxtase ao se visualizarem como vítimas do meio social. Analisa-se a imagem da mulher sofredora, cujo sofrimento é proveniente do amor não correspondido, ou mesmo da impossibilidade de amar e de ser amada de forma íntegra e completa. Renunciam ao amor, mas a manifestação da memória as atormenta e as leva à própria autopunição, pois os sofrimentos e as tribulações conduzem as personagens à autocondenação, que induz à rememoração, esta representa indícios do processo de esquecimento, pelo qual devem passar para serem libertas do pecado e purificadas pelo amor. Para atingir o esquecimento na sua completude, necessitam passar pela morte que, nesse contexto, também será compreendida como a moralidade da sociedade, em que as heroínas precisam morrer para não denegrir a imagem das demais mulheres do contexto social no qual estão inseridas. Enfim, a análise desta pesquisa centra-se na intersecção entre as personagens femininas presentes em diferentes obras de arte, ou seja, as obras literárias, fílmicas, pinturas e esculturas, intersecção que nos permite examinar e refletir acerca dos temas da dor, das lágrimas, da morte e da manifestação da memória e do esquecimento em diferentes contextos sociais e históricos que envolvem distintas personagens, na perspectiva de compreender como as lágrimas e a dor exercem o poder purificador, levando-as à regeneração e à esperança de vida após a morte, conforme prega o catolicismo.

Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.

Introduction: The anterior cruciate ligament (ACL) is a supporting ligament in the knee. ACL injuries are associated with concomitant meniscal tears and cartilage lesions. Aim: Our aim was to study the incidence of meniscal tears and cartilage lesions in patients with ACL injury and how it varies with time from injury to surgery Methods: This was a cohort study using the Swedish Knee Ligament Registry. We reviewed 479 patients who had ACL reconstruction in Region Örebro County between 2005-01-01 and 2019-03-19. Results: The incidence of meniscal tears was 33 %, cartilage lesions 18 %, both meniscal tears and cartilage lesions 29 %. The incidence of meniscal tears distributed over time from injury to surgery was 8 % for 0-3 months., 38 % for 4-12 months, 53 % for > 12 months. The incidence of cartilage lesions was 8 % for 0-3 months, 45 % for 4-12 months, 47 % for > 12 months. The incidence of both meniscal tears and cartilage lesions was 4 % for 0-3 months, 34 % for 4-12 months, 62 % for > 12 months Conclusions: Patients treated with ACL reconstruction had an increased rate of concomitant damage to menisci and articular cartilage with increased time from injury to surgery, suggesting a benefit of early reconstructive interventions following an ACL injury. Male patients displayed a higher incidence in cartilage lesions than did female. Young age was associated with a higher incidence of meniscal tears, whereas an increasing of age was associated with an increased incidence of cartilage lesions.

Title of work: Electrolyte Artist: Judit Fritz Konstfack, Ädellab   ABSTRACT How much of the ocean have I filtered while in tears? Many times, while growing up on an island have I laid eyes on the enormous surrounding body of water and wondered – is the sorrow still in there? In small portions the human body and the bodies of nature exposes each other as part of their own content. Offering a glimpse into a constant material flow. Diffusing the boundaries between object and subject. A material flow that makes it impossible to tell what anything really is, because it has already evolved. My tears taste like the ocean. So does my sweat. I Find comfort in knowing I constantly take part in something that is beyond my human comprehension. That I don’t need to fully understand why I am here, because it is obvious that I, and everyone else play a part. We just don’t know the whole scene. Though a post humanistic angle I have investigated the close relation between matter, material, the human body and the bodies of nature, to find a connection point which decreases the hierarchy between object and subject. By crystallizing matter derived from human body fluids and building a machinery that portrays the process I invite the perceiver to a closeup of their part in a never-ending system. The agency of this project is to raise questions rather than finding answers, as I believe the human is in need of reevaluating their way of thinking when it comes to material and resources. I have tried to shift focus from the human perspective and self-centeredness into a set where we participate rather than being the perceiver. Alchemy was used as both a method and as an art historical reference, as the alchemical mindset is to learn through the act of making. This has been blended with modern days technology and imagination to build a body of work that balances between science and art. While being heavily based on theory and research, the body of work is a translation in which I allowed myself to freely portray how I imagine the travelling of matter is systemized. I created a working place where studies of the unseen is concentrated and visualized. Where the many sorrows and the hard work of human beings crystallize into solids, becoming nature again. Or was it ever not? And vice versa. Throughout the project, even though separated from everything that I connect to being human, the crystals made from pure matter derived from sweat and tears could not be separated from the knowledge of their origin. Even as objects, I see them as subjects. A conclusion that shed light upon the relativeness between bodies. A conclusion that brings life into what is often seen as dead, simultaneously showing the complex machinery of an emotional being.

The aim of this thesis was to perform the classification of defects of emerging in a specific type of steel castings made by company UNEX Foundry, Ltd. and then determine the conditions of their origin. This is mainly discontinuity of casting material. The next step was to propose the corrective measures eliminating creation of these defects.