Thesis (D. Min.)--Ashland Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 195-212).

Submitted by Jose Espinoza (jhuapayae@gmail.com) on 2016-09-08T17:58:31Z No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / Approved for entry into archive by Eleonora Guimaraes (esilva@ufba.br) on 2018-03-28T19:30:12Z (GMT) No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / Made available in DSpace on 2018-03-28T19:30:12Z (GMT). No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / CAPES / Apesar de o Peru ter sido campo de diversas experiências urbanísticas modernas que o levaram a ganhar destaque internacional entre as décadas de 1940 e 1960, verificamos, no entanto, que existe uma grande lacuna sobre a história da arquitetura e do urbanismo modernos peruanos nas principais bibliografias especializadas. Nesse período, o arquiteto peruano Fernando Belaunde Terry foi um dos poucos profissionais que se envolveram e se dedicaram à produção intelectual, projetual e editorial. Além disso, ele foi o principal gestor e promotor da implantação do urbanismo e do planejamento urbano no Peru, atuação essa notadamente viabilizada mediante sua incursão direta no campo político, onde assumiu o cargo de Deputado por Lima (1945) e, depois, de Presidente do país em dois períodos (1963-1968 e 1980-1985). Esta tese tem como objetivo balizar as contribuições de Fernando Belaunde Terry para o debate e consolidação do ideário moderno no país entre 1936 e 1968. Esse recorte corresponde a seu retorno ao país após concluir sua formação universitária nos EUA e ao final do seu primeiro mandato como presidente do Peru. A sua atuação profissional foi analisada a partir das seguintes vertentes: a editorial, tendo ele criado a primeira revista especializada El Arquitecto Peruano (1937), principal veículo de difusão do ideário moderno no país; a projetual, paradoxalmente a menos conhecida e estudada; a institucional, sendo ele fundador do Instituto de Urbanismo del Perú (1944), primeiro centro de pós-graduação em urbanismo e planejamento urbano no Peru; e a política, que envolve a sua atuação na elaboração de legislação urbanística e a cristalização desta, mediante a criação da Oficina Nacional de Planeamiento y Urbanismo (1946) e da Corporación Nacional de la Vivienda (1946). A abrangência do campo de ação e a complexidade da produção de Fernando Belaunde Terry podem ser compreendidas a partir da sua vinculação às ideias de “tradição” e “modernidade”, que irão demarcar continuidades, avanços e retrocessos na sua trajetória.

Kalla krigets slut kom att innebära en ökad andel militära försvarsomställningar. Ända sedan dess har det rått delade meningar i forskarvärlden angående hur militära försvarsomställningar ska förklaras; Farrell och Terriff är några av de forskare som försökt förklara dessa genom att skapa en teoretisk förklaringsmodell. Den teoretiska förklaringsmodellen utgår ifrån tre förklarande kategorier: teknologibaserade, politiskastrategiska och kulturbaserade. För att uppfylla syftet med denna uppsats genomfördes en teoriprövning med Farrell och Terriffs teoretiska förklaringsmodell som utgångspunkt för att testa om den kunde förklara den svenska försvarsomställningen. För att kunna genomföra teoriprövningen genomfördes en motivanalys av proposition 2014/15:109 Försvarspolitisk inriktning – Sveriges försvar 2016-2020. Utifrån det analyserade materialet drogs slutsatsen att den teoretiska förklaringsmodellen kunde förklara den svenska försvarsomställningen, främst genom politiska-strategiska orsaker, men att den behöver utvecklas ytterligare för att på ett mer strukturerat och omfattande sätt kunna förklara försvarsomställningar.

The history of translation has been built on the notions that the translator either leaves the writer alone and moves towards the reader (domesticating the text), or leaves the reader alone and moves towards the writer (foreignising the text). These strategies have been called many names, but the translator has always been faced with the choice between domesticating or foreignising the target text. This study considers the options available to a translator when translating the proper nouns and neologisms in a fantasy novel. The translator should not move towards and stand next to the reader to create a target text that is unrecognisable compared to the source text. At the same time, the translator cannot remain next to the writer and thus not change the proper nouns and neologisms to ensure that the target-text readers can understand all – or most of – the potential meanings. If the translator does not move closer to the readers, they cannot have the same experience as source-text readers. This study looks at the translation theories, strategies and procedures that can be applied when translating proper nouns and neologisms used in Terry Pratchett’s Small Gods. It is limited to the study of the neologisms that act as proper nouns, and does not look at other neologisms in the novel. The study identifies translation procedures that retain the meaning potential of the proper nouns and neologisms in the source text in the process of translating them into an Afrikaans target text. It compares the procedures that may have been used by the Dutch translator, by Venugopalan Ittekot, of the novel, Kleingoderij, into Dutch with the procedures that are identified to be used by a translator of the text into Afrikaans. This study identifies the procedures most appropriate to a possible translation of proper nouns and neologisms in Small Gods to Afrikaans in order to retain the meaning potential. The translation procedures that has been identified are addition, cultural adaptation, internationalisation, literal translation, neutralisation, substitution, transference, transliteration and transposition. These procedures can be used to attain equivalence at word level and in such a way that the meaning-potential is retained. / Dissertation (MA) University of Pretoria, 2016. / African Languages / MA / Unrestricted

This essay is a creative study of how characters are depicted in Terry Pratchett’s Discworld, based on three novels of Pratchett, translated to Swedish: Häxor i Faggorna (1994), Svinvinternatt (2005), and Levande musik (2001). The creative part will be a short story written by me, where I put the well-known character Näcken from Swedish folklore into Pratchett’s imaginary world Discworld. I will use two academic texts about Näcken, Näcken (2008) by Jochum Stattin and Erotiska väsen(2010) by Ebbe Schön, as a base for my creative writing. To study how Pratchett writes and uses allusions in his works, White Knowledge and the Cauldron of story: The Use of Allusion in Terry Pratchett’s Discworld by William T. Abbott and The intertextual use of the Fairy Tale in Postmodern Fiction by Kevin P. Smith will guide me. The purpose of this essay is to study how Pratchett changed folklore characters to fit into his world.

Stop-and-frisk has become a significant issue of debate in recent years with both the constitutionality and effectiveness of the practice coming into question. The New York City Police Department (NYPD) has especially come under scrutiny for their stop-and-frisk program in recent years with researchers finding that minorities and the disadvantaged were being targeted by the NYPD during stop-and-frisk encounters. The majority of the research had focused on New York City, and thus there was little data on the use of stop-and-frisk in other jurisdictions. Moreover, there were few studies that examined officer characteristics, such as college education, agency size, etc., on stop-and-frisk and their effect on officers’ understanding of Terry v. Ohio and the legal standard of reasonable suspicion. It was important to understand what extralegal factors police officers were considering prior to stopping someone to ensure that they were not profiling suspects. Moreover, it was necessary to determine if the officers were following the law regarding what factors constitute reasonable suspicion. A qualitative research design in the form of a case study was utilized to explore how college-educated police officers in small to mid-sized agencies in suburban Western Pennsylvania describe the factors that lead to their decision to stop-and-frisk an individual. The participating police officers possessed either a bachelor’s degree or master’s degree with varying levels of rank and experience. The officers were interviewed in person and questioned regarding their stop-and-frisk practices as well as their understanding of the legal requirements necessary prior to conducting such encounters. A general inductive approach was utilized to analyze the data. NVivo software was utilized to identify categories and themes within the participant interviews consistent with a general inductive approach. A number of categories were identified in reference to how the officers described the legal and extralegal factors that led to their decision to stop-and-frisk when the interview responses were analyzed.

A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in partial fulfillment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016 / The aim of this paper is to investigate how the different types of humour in Neil Gaiman and Terry Pratchett's Good Omens have been translated into French and German as De Bons Présages and Ein Gutes Omen, respectively. This study applies frame semantics to analyse how the translators recreated the humour of the ST in the instances that they were able to do so. This theory examines how context is created and what expectations arise from an individual’s knowledge of context i.e. their understanding of the context and what the reader or hearer associates with it. The novel involves several subplots, but the same humorous elements such as puns, parody and an invented archaic variety of English appear throughout the book and it is the aim of this study to determine how these elements were dealt with by the translators. I will compare the two translations and determine how, and if each translator was able to recreate the same frames that made the ST humorous. / MT2017

In the last twenty years, Terry Pratchett's Discworld series has become very popular. Pratchett's success hinges in part on his use of allusion, in what Tolkien called the "Cauldron of Story," and what Pratchett refers to as "white knowledge." This paper explores the Discworld novels and illustrates Pratchett's use and success of storytelling through a few key directions: folk tales, fantasy literature, movies, and rock music. Pratchett has received limited critical review, mostly of a negative nature, while producing a strong literary series, one crafted with both obvious and subtle recognition of his genre's sources. While standing on the shoulders of giants, Pratchett both respects and scrutinizes the myths and stories that construct our reality. Critically, Pratchett's fiction deserves more respect and closer study; this paper attempts to give him his due.

Often overlooked in the study of nineteenth-century American literature, the New England writer Rose Terry Cooke elicited great popular appeal during the peak of her career. The admiration Cooke received from her readers and fellow writers compels one to question Cooke’s present-day obscurity. Cooke’s fiction and poetry seem inconsistent with the attitudes she express in her non-fiction, particularly concerning religion and women’s suffrage. She portrays women in miserable marriages, desperately looking for an escape. These “brides of Bluebeard” find different ways to cope with their predicament. While most never truly escape, many use (1) religious devotion, (2) masochism, and (3) homosocial relations as “coping mechanisms” in their plight. I identify each of these reactions to Bluebeard figures in Cooke’s writing in order to understand the contradictions in her works, for, like Cooke, these brides were products of their culture, torn between duty to self and duty to others.

The late nineteenth century British stage was hopelessly confused. It couldn’t decide whether it was London’s principle source of entertainment—mainstream and respectable enoughfor Queen Victoria herself to patronize—or the seedbed of all corruption and deviance in Victorian society. At the center of this split identity was the actress, a figure both well-beloved (in the case of stars like Ellen Terry) and the literal embodiment of everything a Victorian women shouldn’t be—loose, sexualized, and working (in the case of her contemporary, Olga Nethersole). Because of this liminal position, Victorian actresses thus create a fascinatingmicrocosm in which to study the implications of performativity and performance in late nineteenth century society. I argue that stars like Terry and Nethersole, though they did so by opposite means, deliberately performed multiple roles, both on stage and in society, in order to enjoy the autonomy they craved—one unavailable to the majority of Victorian women.The biographies of both actresses reveal compelling paradoxes. Terry, though respectedenough to be compared to the “ideal” Victorian woman (the proverbial “Angel in the House”), was in reality a fallen woman. Olga Nethersole, on the other hand, built her career on playing fallen woman roles, yet lived an upright and unremarkable private life. Despite these differences, however, both women rose to great heights of fame and earned careers, funds, and power overtheir lives and relationships that most women of the century would never dream of. This thesis investigates the anomaly of autonomous Victorian actresses through the lens of performance theory. Drawing upon the concepts of liminality and social performativity, introduced largely by performance studies scholars like Richard Schechner and Marvin Carlson, I work toward a practical connection between performance on the stage and performativity in society that remainslargely unexplored in the field of Victorian theatrical studies. Ultimately, I am shedding light onthe paradoxical, dual function of performance; as demonstrated in the lives of these two actresses, it has the potential to simultaneously reinforce societal norms and to protest against them.