La présente étude s'intéresse à la contribution de la mémoire à long terme lors du rappel sériel immédiat. Afin de vérifier la compatibilité de cette hypothèse avec le modèle de la mémoire de travail de Baddeley (1986, 1990a, 1990b,1992a, 1992b), deux expérimentations ont été mises sur pied. Suite à la validation de listes de mots et de non mots en regard du critère d'homogénéité des vitesses d'articulation, les empans pour ces différents types d'items sont mesurés tant en présence de même qu'en absence de suppression articulatoire. Préalablement, il avait été postulé que l'additivité d'une contribution de la mémoire secondaire à celle de la boucle phonologique devrait générer des effets significatifs du type de stimuli employé et de la suppression articulatoire ainsi qu'une absence d'interaction entre ces deux facteurs. En dépit de la présence d'une interaction contribuant à expliquer un faible pourcentage de la variance totale expliquée par le modèle statistique, les résultats obtenus ont permis de vérifier cette hypothèse. En ce qui a trait à la dynamique de l'additivité, elle a été élaborée à partir de la formulation de Hulme, Maughan et Brown (1991). Ces derniers ont proposé que la familiarité des items facilitait la reconstitution du contenu de la boucle phonologique lors du rappel.

The changing social consciousness in South Africa during the twentieth century falls within a political-historical framework of events: amongst others, World Wars I and II; the institution of the Apartheid Laws in 1948; the declaration of a South African Republic in 1960; Nelson Mandela's release in 1992. The literary social consciousness of Abrahams, Paton, Mphahlele and Gordimer spans the time before and after 1948. Their novels reflect the changing reality of a country whose racial and social problems both pre-date and will outlive the apartheid ideology. These and other novelists' changing social consciousness is an indication of the development of attitudes and reactions to issues which have their roots in the human and in the economic spheres, as well as in the political, cultural and religious. Their work interprets the history and the change in the South African social consciousness, and also gives some indication of a possible future vision. / English Studies / M.A. (English)

Thesis (MPhil)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed. Since V for Vendetta draws on a number of other dystopian texts, New Historicist theory is employed which begins its analysis of literary texts by attempting to look at other texts as well as the historical context in which it originated, to aid in the understanding of that text. Therefore, V for Vendetta with its thorough character development and multi-dimensional storyline that the larger format of the graphic novel allows, is studied alongside other highly regarded novels. The characteristics of the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at real examples of totalitarian regimes from history. The chapters are divided into what I identified as the main themes of the totalitarian dystopia. Chapter one explains the concept of the utopia in order to grasp the concept of dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the social structure of V for Vendetta as well as the common Totalitarian dystopia. Chapter three discusses the issue of censorship which is a recurring theme in dystopian fiction. Chapter four examines the manner in which the totalitarian regime manipulates the populace of the dystopia through propaganda. Chapter five discusses the systems of surveillance and lack of privacy in the Totalitarian dystopia and a chapter on the protagonist in dystopia concludes this study. / AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen, word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte van die hoofstukindeling. In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda. Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis in die distopie.

The thesis represents an attempt, within the broad field of religion and literature and of identity studies, to read the early unpublished fiction of Alan Paton, dating from approximately 1922 (the end of his student days) to 1935 (when he became Principal of Diepkloof Reformatory). It is pointed out that research into the interrelationship of literature and religion, while well-established in a number of countries, is lagging in South Africa, and it is believed that the present thesis is the first full-length work of its kind, at least as far as South African literature in English is concerned. The writer advances reasons for his explicitly religious and hermeneutic approach to questions of human identity, as found in Paton especially, and focuses these on two particular areas: narrative identity, as propounded in the later work of Paul Ricoeur, and relational identity (to the other human being and to the Other, God), as theorised by Emmanuel Levinas in his later writing. In order to contextualise the study in Africa and in South Africa, brief attention is accorded to writers such as Soyinka, Mbiti and Mbembe and to current debates regarding white identity in South Africa. To lend a sense of historical context, Paton's work is viewed against the backdrop of identity in colonial Natal. The overall approach adopted may be described as broadly, but critically, postmodernist. Paton's earliest, fragmentary novel, 'Ship of Truth' (1922-1923) is read in some detail; his second, and only complete early novel, 'Brother Death' (1930), is commented on in as much detail as its frequently rambling nature warrants. A chapter on shorter fiction discusses his short story 'Little Barbee' (1928?), his short story 'Calvin Doone' (1930), his third novel, 'John Henry Dane' (1934), and a novel or novella, 'Secret for Seven' (1934). From all these readings it emerges that the Paton of his early fiction is markedly different from the Paton generally known: his concepts of human identity, of God and of religion, though earnest, are unformed and frequently ambivalent; his characterisation often stereotyped and wooden; his political views usually prejudiced and his stylistic and other techniques, though adequate in a young writer, highly repetitive. Various suggestions are made for future research: into South African literature from a religious perspective, into other aspects of Paton's works, and so forth. / Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2007.

This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.

The aim of this thesis is to report on a transdisciplinary approach, regarding the complexity of thinking about human embodiment in relation to machine embodiment. A practical dimension of this thesis is to elicit some principles for the design and evaluation of virtual embodiment. The transdisciplinary approach suggests, firstly, that a single discipline or reality is, on its own, not sufficient to explain the complexity and dynamism of the embodied interaction between the human and machine. Secondly, the thesis argues for thinking of transdisciplinary research as a process of individuation, becoming or transduction, that is, as a process of mediation between heterogeneous approaches rather than perceiving research as a stabilized cognitive schema designed to accumulate new outcomes to the already-there reality. Arguing for going beyond the individualized approaches to embodiment, this thesis analyzes three cases where the problems that appear in one case are resolved through the analysis of the following one. Consisting of three phases, this research moves from objective scientific 'reality' to more phenomenological, subjective and complex realities. The first study employs a critical review of embodied conversational agents in human-computer interaction (HCI) in a learning context using a comparative meta-analysis. Meta-analysis was applied because most of the studies for evaluating embodiment are experimental. A learning context was selected because the number of studies is suitable for meta-analysis and the findings could be generalized to other contexts. The analysis reveals that there is no 'persona effect', that is, the expected positive effect of virtual embodiment on the participant's affective, perceptive and cognitive measures. On the contrary, it shows the reduction of virtual embodiment to image and a lack of consideration for the participant's embodiment and interaction, in addition to theoretical and methodological shortcomings. The second phase solves these problems by focusing on Mark Hansen's phenomenological account of embodiment in new media. The investigation shows that Hansen improves on the HCI account by focusing on the participant's dynamic interaction with new media. Nevertheless, his views of embodied perception and affection are underpinned by a subjective patriarchal account leading to object/subject and body/work polarizations. The final phase resolves this polarization by analyzing the controversial work of Alan Turing on intelligent machinery. The research provides a different reading of the Turing Machine based on Simondon's concept of individuation, repositioning its materiality from the abstract non-existent to the actual-virtual realm and investigating the reasons for its abstraction. It relates the emergence of multiple human-machine encounters in Turing's work to the complex counter-becoming of what it describes as 'the Turing Machine compound'.

At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-25T11:54:43Z No. of bitstreams: 1 Danilo Gustavo Bispo.pdf: 1616324 bytes, checksum: cbc43e66f323825f005da2c275dfa256 (MD5) / Made available in DSpace on 2018-07-25T11:54:43Z (GMT). No. of bitstreams: 1 Danilo Gustavo Bispo.pdf: 1616324 bytes, checksum: cbc43e66f323825f005da2c275dfa256 (MD5) Previous issue date: 2018-04-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to expose the study of some aspects that permeated the emergence of Computing Theory of Alan Mathison Turing at the beginning of the 20th century. According to previous research, it is suggested that this occurred in part, due to a theoretical consequence of the development of mathematics. At the end of the nineteenth century there was an effort expended by some thinkers whose aim was to clarify the nature of truth in mathematics, a problem put in sharp evidence by the turbulent stage in the development of mathematical thinking between about 1870 and 1940 with the emergence of new types of geometry. This stage can also be interpreted as "the crisis of fundamentals" and visualized as the outcome of the development phase corresponding to the emergence of contemporary science. Within this context, the idea will now be to broaden the research to identify details of the projects that were not successful but that also had their contribution or influenced in some way the emergence of the theory that established key concepts for the digital computer model / O presente trabalho tem como objetivo expor o estudo de alguns aspectos que permearam o surgimento da Teoria da Computação de Alan Mathison Turing no início do século XX. De acordo com pesquisa, sugere-se que isso tenha ocorrido em parte, devido a uma consequência teórica do desenvolvimento da matemática. No final do século XIX houve um esforço despendido por parte de alguns pensadores cujo o intuito estava em clarificar a natureza da verdade em matemática, problema posto em aguda evidência pela turbulenta etapa no desenvolvimento do pensamento matemático ocorrido entre aproximadamente 1870 e 1940 com o surgimento de novos tipos de geometria. Esta etapa também pode ser interpretada como "a crise dos fundamentos" e visualizada como o desfecho da fase de desenvolvimento correspondente ao surgimento da ciência contemporânea. Dentro deste contexto, a ideia será agora ampliar a investigação procurando identificar detalhes dos projetos que não foram bem-sucedidos, mas que também tiveram sua contribuição ou influenciaram de algum modo o surgimento da teoria que estabeleceu conceitos chave para o modelo do computador digital

El presente trabajo abordará las repercusiones que tuvo en Izquierda Unida (IU) la decisión del gobierno del presidente Alan García de ordenar el debelamiento de los motines protagonizados por los presos de Sendero Luminoso en las cárceles de Lurigancho, El Frontón y Santa Bárbara, entre el 18 y 19 de junio de 1986. / Tesis

<p>“What characterizes an acceptable theory of self-realization?” The thrust of the present dissertation is towards seeking an answer to this central problem, which stems from the fundamental human experience that life involves change, and that in a modern society such change is often expected to be towards a realization of potentials and the good life for the individual. </p><p>The dissertation has a three-fold purpose. The first is to clarify the content of five modern theories of self-realization from three academic fields. The theories are those of the psychologist Abraham H. Maslow, the philosophers Charles Taylor and Alan Gewirth, and the theologians Reinhold Niebuhr and Bernard Lonergan. These are methodologically studied by the help of seven analytical questions. The second purpose is to perform a lengthwise comparatative analysis of the five theories, the results of which lead to the third; namely to critically discuss several elements of the reality of human life which have proven to be missing or supressed in much of the material.</p><p>The theoretical framework for the dissertation runs along two axes: one concerns what is developed as a distinction between internalism and relationalism, and the other is to cast a critical light on the lack of attention paid by the the theories of self-realization to experiences which run counter to optimistic ideas of individual development, such as death, loss and dependence. </p><p>The dissertation concludes with an outline for a constructive position based on the necessity of a theory’s closeness to experience, and on the need for reconcilitation of what may seem to be unabridgeble in human life. A theory of self-realization must do more than formulate positive conditions for change. It must also take into consideration conditions that are not directly related to, and sometimes even run contrary to, realization of the self.</p>