Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

The relationship between performer and spectator is a constant topic in theatre since audiences are essential to any performance. Some contemporary performances strive to blur the line between the two by allowing audiences to participate during the show. Often, audience participation is despised and therefore avoided by spectators and theatre practitioners. However, Blue Man Group thrives on it due to their authentic character, adaptable narrative, and accessible space. Through my examination of the show as an audience member, I theorize that these three elements control the audience's willingness to participate in the production and in turn make the entire experience more rewarding and memorable as performer and spectator share roles in order to create this performance. Chris Wink, Matt Goldman, and Phil Stanton co-founded Blue Man Group in 1987, and received their first official venue in 1991. Blue Man Group is a ninety-minute variety show that utilizes rock music, theatrical vignettes, and experiments with science, art, and modern technology to explore the ways in which humans express and communicate. This unprecedented show performs in multiple locations daily throughout the United States, Germany, and has also captivated audiences of all ages around the world. The most popular and recognizable element to the show is the humanoid Blue Man character. He does not speak or make large facial expressions. Instead, he mainly observes intently and follows commands, much like a spectator. His original physical attributes, honest behavior and communication, and authoritative presence through three performers grant him authenticity. His unique personality draws in an audience's interest and investment in the character and the entire production. The co-founders identify the Blue Man Group adaptable narrative as “Neo-Vaudeville”, mixing many forms of science and art together. The cast, crew, and audience take part in the show through tribal training, developing communitas as they watch and learn, call and respond, to the show's commands. The pieces that contain audience participation utilize various types of invitation, coaxing audiences into participation in effective ways. Through an exploration of visual and aural perception, spatial fluidity, and technology, Blue Man Group's use of space connects its audiences to the performance and helps them consider more deeply their connections with others. Thus people often participate during the show and enjoy doing so. This level of investment and excitement is necessary for successful audience participation. Thus Blue Man Group is a blue print for how live theatre can form a powerful relationship with audiences.

This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

張湛《列子注》長久以來在學術界未受到重視，但是在整個魏晉玄學的發展史上（尤其是東晉玄學）實具有不可磨滅的價值，因此對於張湛的玄學思想應給予什麼樣的評價？張湛的「貴虛」思想與《列子》的「貴虛」究竟有什麼不同？他的理論是否可以名之為「貴虛論」？張湛的思想體系只是單純的雜揉各家的說法、還是又提出了一些新的命題及概念？這些都是在探討張湛思想所欲解決的問題。本文擬分為六章，以「貴虛」為理論核心，再探討相關的幾個重要的子題--言意觀、力命論、天道觀、聖人論等，將張湛的行為及思考模式作一時代的定位。本文各章重點如下:第一章緒論，先宏觀介紹東晉玄學的特色及《列子注》「貴虛」的意涵，並對張湛是否偽作《列子》疑案作一釐清。第二章言意觀，說明《列子注》言意之辨的內涵，從去知忘言的語言模式及名實與公私二方面論述。進而再探討張湛的思考脈絡及思維方式。第三章天道觀，探討有無之辨的思想背景及思想內涵，從道與的關係、萬有生化的情形、宇宙的生成三方面申說。第四章力命論，主要探討理與力命的關係及「為我」與「知命」觀念的矛盾與調和。第五章聖人之道，說明張湛「聖人」模式的內涵及儒道調和的意義，並進一步闡明張湛對於覺與夢的辨別及具體的修養之方。第六章結論，對張湛思想體系的檢討及評價。

<p>Harmonisering av punktskatter har skett främst genom Rådets direktiv 92/12/EEG om allmänna regler för punktskattepliktiga varor och om innehav, flyttning och övervakning av sådana varor, det s k cirkulationsdirektivet. Cirkulationsdirektivets bestämmelser innebär att varorna i och för sig blir skattepliktiga när de produceras inom EU eller förs in till EU, men att de kan cirkulera fritt inom gemenskapen utan beskattningskonsekvenser. Varorna hanteras under s k suspension. För privatpersoners inköp för eget bruk, Privatimport, gäller dock att varan punktbeskattas i inköpslandet. Denna problematik aktualiserades i det uppmärksammade ”Man in Black-fallet” då det ej var fråga om privatimport i direktivets bemärkelse då varorna personligen måste föras över gränsen för att de skulle kunna punktbeskattas i inköpslandet. EGD tog dock inte närmare ställning till vad som skall anses vara privatimport respektive import för kommersiella ändamål. Detta till trots har Man In Black-fallet nyligen använts som ledning av svensk domstol i ett mål då en privatperson via egenhändigt ordnad transportör fört in varor från en annan medlemsstat till Sverige. Länsrätten (LR) bedömde då att beskattning skulle ske enligt destinationsprincipen, med den högre svenska punkskatten som följd, trots att det var köparen som egenhändigt hade ordnat transporten. Uppsatsens syfte är att utifrån Man-in-Black-fallet och det svenska fallet undersöka vad som avses med begreppet Privatimport.</p>

<p>In this report, the principles of man-made object detection in satellite images is investigated. An overview of terminology and of how the detection problem is usually solved today is given. A three level system to solve the detection problem is proposed. The main branches of this system handle road, and city detection respectively. To achieve data source flexibility, the Logical Sensor notion is used to model the low level system components. Three Logical Sensors have been implemented and tested on Landsat TM and SPOT XS scenes. These are: BDT (Background Discriminant Transformation) to construct a man-made object property field; Local-orientation for texture estimation and road tracking; Texture estimation using local variance and variance of local orientation. A gradient magnitude measure for road seed generation has also been tested.</p>

<p>Language and gender is one of the most intriguing and interesting areas in sociolinguistic study. It investigates how men and women (or boys and girls) use language differently in social contexts.</p><p>Extensive study and research has been carried out in this field, particularly in regard to the English language. Eminent linguists such as Ronald Wardhaugh, David Crystal, Ralph Fasold, and Deborah Tannen have studied varying male-female use of the English language. They have also attempted comparison with other languages and cultures. Wardhaugh, for instance, has studied male-female use of language in English, American-Indian languages (such as Gros Ventre), Asian and Oriental languages (Yukaghir, Japanese) among others, and his findings have become the subject of several of his published works.</p><p>In their investigations they have found that almost invariably, the way men use language shows them to be socially dominant over women. This persists even in such cases as in the Malagasy language spoken in Madagascar, where men display linguistic characteristics more popularly associated with women and vice versa (Wardhaugh).</p><p>This paper seeks to determine whether men use language to dominate women among the Kikuyu ethnic group of Kenya, East Africa, to which I belong. Areas such as terms used to refer to men and women, taboo language and language use in marital situations are examined, among others. I also attempt to find out what influence this has had on English spoken in Kenya.</p>

Traditional readings of George Bernard Shaw's texts suggest that he is not a pure Marxist socialist because of the spiritual and nationalist aspects of his vision. This thesis attempts to confront Shaw's politics in order to demonstrate that he indeed offers a viable socialist program. Overlaying his socialism with Louis Althusser's concepts of "overdetermination," "structural causality," and "ideology" reveals that Shaw uses relatively autonomous instances of the superstructure toward socialist ends. This reevaluation of Shaw is best achieved through a combined reading of three of his major plays -- John Bull's Other Island, Man and Superman, and Major Barbara. In John Bull, Shaw incorporates the controversy of nationalism into his socialist vision by explaining it as an inevitable step in the development of an oppressed nation toward socialism. Man and Superman discusses the need for spirituality in the form of Shaw's concepts of Creative Evolution and the Life Force, which drive toward the development of a consciousness that recognizes socialism as the only sustainable internationalist program. Major Barbara combines Shaw's socialist and spiritual views by showing that both stand in reciprocal relation to each other; they are equally necessary to the Shavian world, one providing the ideal social system, the other the most enlightened human sensibility. This project demonstrates that Shaw's integration of these elements usually considered contradictory to Marxism becomes a way to understand him as practicing the Althusserian idea that any displacements of the infrastructure are economic in the last instance. / Graduation date: 1999

Based on field and archival research, Becoming Wilderness analyses the fluid constructs of game preservation and their affect within networks and landscapes to the west of Tarangire National Park, Northern Tanzania from the late 19th Century until the present. The initial query of this thesis is how and why Tarangire comes to be separated as different from its surrounding (on the map and within policy) and what this has entailed for what is ‘within’ and ‘outside’. This thesis is written to add to the understanding of how ‘one of Tanzania’s most spectacular wilderness areas’ was created, in order to problematize and deepen the understanding of the factual people/park conflicts and entanglements existing there today. Through a topological investigation, it shows Tarangire’s transformation from peripheral to central and the simultaneous transformation of peopled landscapes from central to borderlands. Based on interviews, focus groups and archival research the thesis firstly investigates the transformation of peopled landscapes to the west of Tarangire National Park. Secondly it analyses the alternations in the tsetse geography that has previously been claimed to be the root cause behind the creation of the park, pointing to the fluid and relational character of tsetse landscapes. Thirdly, this thesis queries the notion of an ‘imposition of wilderness’ and suggests that vast tracts of Tanzania’s protected areas have in fact gradually become wilderness within heterogeneous networks, rooting themselves in ways that are far more tricky to oppose than had they suddenly been imposed. As such it seeks to contribute to the understanding of the root causes of conservation vs. people conflicts existing today. / People Land and Time in Africa (PLATINA)

Harmonisering av punktskatter har skett främst genom Rådets direktiv 92/12/EEG om allmänna regler för punktskattepliktiga varor och om innehav, flyttning och övervakning av sådana varor, det s k cirkulationsdirektivet. Cirkulationsdirektivets bestämmelser innebär att varorna i och för sig blir skattepliktiga när de produceras inom EU eller förs in till EU, men att de kan cirkulera fritt inom gemenskapen utan beskattningskonsekvenser. Varorna hanteras under s k suspension. För privatpersoners inköp för eget bruk, Privatimport, gäller dock att varan punktbeskattas i inköpslandet. Denna problematik aktualiserades i det uppmärksammade ”Man in Black-fallet” då det ej var fråga om privatimport i direktivets bemärkelse då varorna personligen måste föras över gränsen för att de skulle kunna punktbeskattas i inköpslandet. EGD tog dock inte närmare ställning till vad som skall anses vara privatimport respektive import för kommersiella ändamål. Detta till trots har Man In Black-fallet nyligen använts som ledning av svensk domstol i ett mål då en privatperson via egenhändigt ordnad transportör fört in varor från en annan medlemsstat till Sverige. Länsrätten (LR) bedömde då att beskattning skulle ske enligt destinationsprincipen, med den högre svenska punkskatten som följd, trots att det var köparen som egenhändigt hade ordnat transporten. Uppsatsens syfte är att utifrån Man-in-Black-fallet och det svenska fallet undersöka vad som avses med begreppet Privatimport.