I denna uppsats studerar jag drapering som arbetssätt inom mönsterkonstruktion. Drapering ären klassisk teknik för att forma tyg runt en kropp. När man arbetar med denna teknik är störstfokus på plaggets uttryck och fall. Studien är utförd i samarbete med ett litet svensktmodeföretag, och inom studien utvecklas en klänning, en kjol och en byxa. I det praktiskaarbetet tillämpas en arbetsmetod som innefattar märkning och nedmontering av det draperadeplagget. Denna arbetsmetod visar sig vara framgångsrik när det kommer till att återskapa dendraperade formen som tagits fram av designern. Drapering, som är ett tredimensionelltarbetssätt, jämförs i studien med traditionell platt mönsterkonstruktion. Inom plattmönsterkonstruktion använder man standardmåttlistor och grunduppställningar somutgångspunkt när man konstruerar modeller. Inom drapering börjar man med att skapamodellen genom att drapera upp plagget på en docka och själva mönsterkonstruktionen börjarinte förrän plagget har monterats ned från dockan. Man har således inte samma arbetsgång närman arbetar med draperade och platta konstruktioner. Drapering är ett mer fritt arbetssätt änplatt mönsterkonstruktion är. Inom drapering arbetar man ständigt med kroppen somutgångspunkt, och låter den och materialet som används bestämma plaggets form och fall. / Program: Designteknikerutbildningen

This dissertation examines the reception of Chinese language and literature during Tokugawa period Japan, highlighting the importation of vernacular Chinese, the transformation of literary styles, and the translation of narrative fiction. By analyzing the social and linguistic influences of the reception and adaptation of Chinese vernacular fiction, I hope to improve our understanding of genre development and linguistic diversification in early modern Japanese literature. This dissertation historically and linguistically contextualizes the vernacularization movements and adaptations of Chinese texts in the seventeenth to eighteenth centuries, showing how literary importation and localization were essential stimulants and also a paradigmatic shift that generated new platforms for Japanese literature. Chapter 1 places the early introduction of vernacular Chinese language in its social and cultural contexts, focusing on its route of propagation from the Nagasaki translator community to literati and scholars in Edo, and its elevation from a utilitarian language to an object of literary and political interest. Central figures include Okajima Kazan (1674-1728) and Ogyû Sorai (1666-1728). Chapter 2 continues the discussion of the popularization of vernacular Chinese among elite intellectuals, represented by the Ken'en School of scholars and their Chinese study group, "the Translation Society." This chapter discusses the methodology of the study of Chinese by surveying a number of primers and dictionaries compiled for reading vernacular Chinese and comparing such material with methodologies for reading classical Chinese. The contrast indicates the identification of vernacular Chinese as a new register that significantly departed from kanbun. Chapter 3 provides a broader view of the reception of Chinese texts in Japan in the same time period, discussing Hattori Nankaku (1683-1759), a kanshi poet and Ogyû Sorai's successor in literary criticism. Nankaku's contributions include a translation and annotation of the Tang shi xuan (J. Tôshi sen), an anthology of Tang poetry compiled by Ming poet Li Panlong (1514-1570). Such commentaries in accessible Japanese prose reflected the changing readership of Chinese texts, as well as the colloquialization of literary Japanese. Chapters 4 and 5 focus on literary translations and adaptations of Chinese narrative texts in different language styles. Chapter 4 analyzes kanazôshi ("kana booklet") stories by Asai Ryôi (1612?-1691) in comparison to their source text, the Ming Chinese anthology of supernatural stories New Tales Under the Lamplight (Jian deng xin hua). For a comparative perspective on translation style, this chapter also addresses adaptations of the same source story by Korean and Vietnamese authors. Chapter 5 looks into the literati genre of yomihon ("reading books") and focuses on Tsuga Teishô's (1718?-1794?) adaptations of Ming vernacular fiction by Feng Menglong. Teishô, a prolific author considered to be the inventor of this important genre, has been grossly understudied due to the linguistic complexity of his works. His adaptations of Chinese vernacular stories bridged different narrative traditions and synthesized various language styles. This chapter aims to demonstrate Teishô's innovative prose style and the close connections between vernacular Chinese and the development of early yomihon as a sophisticated, experimental genre of popular literature. This dissertation illustrates the inextricable relationships between language transformation and genre development, between vernacularization and narrative literature. It departs from the long-standing paradigm of Sino-Japanese (wakan) literary study, which treats Sinitic writing as an integral part of Japanese literary discourse, emphasizing rather a comparative linguistic approach that addresses Chinese and Japanese linguistic and literary movements in parallel. Within this framework, this project is intended as a platform for further explorations of issues of cultural interaction and translation literature.

A large proportion of energy demand comes from urban areas, mostly from buildings and transport, the use of which has impacts on climate and air quality through the emissions of greenhouse gases and other pollutants. To effectively mitigate these impacts, a better understanding of the relationship between energy and urban form variables is crucial. The link between energy and urban variables has been demonstrated before and it is recognised in many aspects of the cities, such as human behaviour and transport dynamics. This research goes forward by analysing the correlation and scaling between energy consumption and different land use typologies derived from urban form variables, as well as at other scales. The work is built on readily available datasets for England to guarantee the replicability of the methodology and ensure the reliability of the results. A combined energy use metric integrating buildings and commute transport produces helpful insights into energy consumption patterns and it is obtained at a large geographic scale. The identification of local scale consumption patterns is attractive to policymakers and planners by providing them detailed information to direct local-level policies. On the other hand, the derived land use typologies deliver new knowledge about the spatialisation of the urban system and to establish the link with the energy use. The results reveal that the relationship between energy and urban variables favours the application of compact city to reduce carbon-based energy consumption. This means that better energy efficiency is achieved by areas with higher population density. The analysis also shows that socio-economic variables have higher impact on energy consumption than physical variables. Moreover, differences at city scale and for the land use typologies are identified, demonstrating the importance of focusing the analysis according to the goal. In sum, the results from this work provide new insights about the relationship between energy and urban characteristics that can be used by policymakers and planners to outline more focused and detailed actions to mitigate energy use in England.

應用於音樂的轉換理論，自大衛·盧因於1987年首先提出，至今已逾四分之一個世紀。在轉換理論中，盧因極具創見地將音樂的動態以數學中的群論及函數的概念表達，冀望以此改變過往音樂分析中過於注重對音樂素材及其特性的靜態研究，而忽視素材之間轉換過程的問題。盧因的研究對於西方理論學界產生了極大的影響。有關理論的深層探討，特別是在音樂與數學結合的方向顯示了驚人的成果。然而，就如何將轉換理論系統地應用於音樂分析，迄今最為成功的嘗試仍僅為盧因1993年成書的四首作品分析。對於轉換理論如何體現某個作曲家個人風格及其發展的研究，更是絶無僅見。本文將轉換理論應用於分析德彪西的兩首管弦樂傑作《牧神午後前奏曲》及芭蕾舞劇《遊戲》。雖然有關德彪西作品的分析者眾，但囿於理論途徑的限制，能充分展現在新舊風格轉換的歷史語境下，德彪西音樂獨特之處的研究仍極為有限。在本文中，轉換理論因其彈性的適用性，為兩首作品中的音高組合與曲式的關係，以及由此體現的風格衍變與美學思想，提供了獨特而極具說服力的分析視角。 / Theoretical development that stems from David Lewin’s transformational theory has flourished since its inception in 1987. However, the analytical application of Lewin’s theory remains scant, with Musical Form and Transformation: Four Analytical Essays (1993) standing out as one major achievement. Transformational theory is more often used to address specific theoretical issues, rather than to enhance our understanding of musical works or stylistic traits of individual composers. This study explores the applicability of Lewin’s transformation theory to two of Debussy’s orchestral masterworks, Prélude à l’après-midi d’un faune and Jeux, and contributes to Debussy scholarship by offering readings that cast new light on the interrelationship between pitch organization and form in them. / Detailed summary in vernacular field only. / Hong, Ding. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 181-191). / Abstracts also in Chinese.

This thesis explores selected texts by the contemporary author Colum McCann (b.1965), situating his work within a larger transnational Irish canon. The project traces how notions of Irish identity interact with experiences of diaspora, migration and race; throughout the thesis, close attention is paid to the role and function of literary form. After an introduction which maps out the material covered in the thesis, the project opens with a contextual chapter entitled ‘Deoraí: Exile, Wanderer, Stranger: (Post)colonial Ireland and making sense of place’. This chapter sets up the methodological frameworks that guide the thesis through a meditation on exile in an Irish and postcolonial context. My second chapter, ‘Deterritorialised novels: McCann’s short stories as Minor Literature in an (Northern) Irish Mode’, focuses on McCann’s short stories, paying particular attention to those set in the North of Ireland. Invoking Thomas MacDonagh’s notion of an Irish Mode and Deleuze and Guattari’s concept of Minor Literature, I argue that the rejection of the novel in favour of the short story is a form of literary politics inflected with anti-colonial sentiment. Continuing my examination of literary form, my third chapter, ‘Nomadism and Storytelling in Zoli: oral culture, embodiment and travelling tales’, highlights the ambivalence of orality within McCann’s novel Zoli and works towards establishing what a textual practice of storytelling might be, in addition to probing at the representation of nomadic peoples across McCann’s work. The next chapter is entitled ‘Topography of Violence’: race, belonging and the underbelly of the cosmopolitan city in This Side of Brightness’. This discusses the cosmopolitan ethics that underpin McCann’s novel and how these are grounded by the close attention McCann pays to the experiential realities of America’s (often racialised) underclass through McCann’s depiction of interracial love. My final chapter ‘TransAtlantic: Frederick Douglass, the Irish Famine and the Troubles with the black and green Atlantics’, maps out the overlapping histories of the black and green Atlantics, tests the validity of the ostensible affinity between the two groups and asks how useful conventional chronological narratives are in the representation of their histories. Finally, I finish with ‘Minor Voices, race and rooted cosmopolitanism’, which concludes that McCann’s fiction articulates a need for rooted cosmopolitan and critically engaged nomadic thought which embraces Minor Voices and rejects exclusionary politics.

Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade. / This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.

Esta dissertação versa sobre a parcela evanescente que constrói uma série convergente e, desse modo, impossibilita sua permanência em uma forma última. O estudo da evanescência como a possibilidade de movimentar um corpo afirma a potência do infinito de uma vida finita e a impossibilidade da permanência a partir do movimento incessante do infinitamente pequeno. Afirmar a irredutibilidade do movimento a um ponto de chegada e a possibilidade da criação de um outro si ou de um si sempre provisório é considerado, neste estudo, um modo de inventar a vida. Com Foucault e Deleuze, apresenta-se um corpo como uma estrutura atravessada por linhas que operam e compõem instantaneidades, como forma em constante mutação. Trata-se de produzir ecos entre os domínios da filosofia e da matemática, na afirmação da diferença como aquilo que constitui um corpo. A impossibilidade da permanência é tomada como transgressão de limites impostos, ao considerar uma formação como a produção de infinitas formas. / This dissertation is about the evanescent parcel that builds a convergent series and, this way, precludes its permanence in an ultimate form. The study of evanescence as a possibility of moving an object affirms the potency of the infinite of a finite life and the impossibility of permanence from an incessant movement of the infinitely small. Affirming the irreducibility of movement to an arrival point and the possibility to create another form or an form always temporary is considered, in this study, a way to invent life. Departing from Foucault and Deleuze, an object is presented as a structure crossed by lines that operate and compose instantaneities, as a shape in constant mutation. It is about producing echoes between philosophy and mathematics, considering difference as what constitutes an object. The impossibility of the permanence is taken as a transgression of imposed limits, when it consideres a formation as a production of infiniteness forms.

Modernism is a popular topic for diverse kinds of scholarship and theories, yet the possibilities of its contribution to education have been neglected. This thesis is an attempt to illustrate modernism's utility in forming a theory of education through examining the thoughts of two prominent modernists, Virginia Woolf and E.M. Forster. In reviewing both their fiction and nonfiction, we not only gain valuable insight into and contextualization of modernism, we are also introduced to possible (theoretical) solutions to problems that continue to plague our classrooms. By evaluating modernist themes of form, narration, becoming a reader and a critic, and time, I hope to illustrate modernism's capacity to contribute to the educational conversation in unique and valuable ways. As we channel the values Woolf and Forster lived by and demonstrated in their writing into an adaptable educational theory, we will be able to produce generations of better readers, better thinkers, better learners, and ultimately better individuals.

Garments are everywhere in today’s society and often presented on the body, although the absence of the body in design can have an integral impact on how they are perceived by an audience. An experimental material coating, aided garments to become sculptural by portraying the essence of the body. This essay argues that garments are challenged through their perception and purpose by the absence of the body, allowing the sculptures to develop a language in their own right. Through means of forming methods, absence of the body and materiality, garments are able to evolve to communicate an idea challenging one’s preconceived garment notions and broadening the spectrum of situational presentational methods.

As residential urban development increases in the western United States, few studies have shown how different urban forms influence vegetation cover. The two studies in this thesis examine how to define and measure urban form in order to understand the relationship between urban form characteristics and vegetation cover. In the first study, urban form was defined by using past methods of identifying and measuring urban sprawl. Past studies showed the most essential metrics that define residential urban form are building density, centrality, connectivity, land use mix, and parcel size. This study reviews these metrics and proposes revised unified definitions and measurement methods. It is recommended that consistent definitions and methods be used in further research of urban form. Cache County, Utah was used as a study area to apply these methods as a representative community of the western U.S. Residential parcels were measured for each metric. A K-means cluster analysis assign each parcel to one of 50 groups based on metric measurement similarities. The 10 most widely used groups contained 87% of the residential parcels in Cache County. These groups represented urban forms with distinct identifiable characteristics such as Agricultural residential, urban sprawl, historic plat patterns, and evolved versions each. The second study used the metrics and groups from the first study to check for correlations with vegetation cover. A normalized difference vegetation index ( NDVI) of aerial imagery of Cache County was used to classify land cover into three groups: dense vegetation, light vegetation, and no vegetation. Measurements of vegetation cover were extracted for each parcel and each urban form group. Total vegetation cover ( TVC) and dense vegetation cover (DVC) measured higher in urban areas than in the county as a whole. Agricultural residential groups had among the highest TVC, but had the lowest DVC. Non-agricultural residential groups had the highest DVC as a percentage of TVC with the exception of group 4 “Modern Suburban Sprawl” which had the lowest DVC as a percentage of TVC. Group 7 “Satellite Centers” had the highest TVC while group 3 “Dead End Semi-sprawl” had the lowest TVC. Both groups 3 and 7 had the highest DVC as a percentage of TVC. A correlation analysis revealed that TVC had stronger correlations than DVC with urban form metrics. Building density had the strongest correlation with TVC (r = -0.62, p= 0). Correlations with TVC were also found with Parcel size (r = -0.23, p= <.001) and centrality (r = -0.21, p = <.001). Very weak relationships with TVC w ere found with connectivity and land use mix.