Workflow systems aim to provide automated support for the conduct of certain business processes. Workflow systems are driven by workflow specifications which among others, capture the execution interdependencies between various activities. These interdependencies are modelled by means of different control flow constructors, e.g., sequence, choice, parallelism and synchronisation. It has been shown in the research on workflow patterns that the support for and the interpretation of various control flow constructs varies substantially across workflow systems. Two of the most problematic patterns relate to the OR-join and to cancellation. An OR-join is used in situations when we need to model " wait and see" behaviour for synchronisation. Different approaches assign a different (often only intuitive) semantics to this type of join, though they do share the common theme that synchronisation is only to be performed for active paths. Depending on context assumptions this behaviour may be relatively easy to deal with, though in general its semantics is complicated, both from a definition point of view (in terms of formally capturing a desired intuitive semantics) and from a computational point of view (how does one determine whether an OR-join is enabled?). Many systems and languages struggle with the semantics and implementation of the OR-join because its non-local semantics require a synchronisation depending on an analysis of future execution paths. This may require some non-trivial reasoning. The presence of cancellation features and other OR-joins in a workflow further complicates the formal semantics of the OR-join. The cancellation feature is commonly used to model external events that can change the behaviour of a running workflow. It can be used to either disable activities in certain parts of a workflow or to stop currently running activities. Even though it is possible to cancel activities in workflow systems using some sort of abort function, many workflow systems do not provide direct support for this feature in the workflow language. Sometimes, cancellation affects only a selected part of a workflow and other activities can continue after performing a cancellation action. As cancellation occurs naturally in business scenarios, comprehensive support in a workflow language is desirable. We take on the challenge of providing formal semantics, verification techniques as well as an implementation for workflows with those features. This thesis addresses three interrelated issues for workflows with cancellation regions and OR-joins. The concept of the OR-join is examined in detail in the context of the workflow language YAWL, a powerful workflow language designed to support a collection of workflow patterns and inspired by Petri nets. The OR-join semantics has been redesigned to represent a general, formal, and decidable approach for workflows in the presence of cancellation regions and other OR-joins. This approach exploits a link that is proposed between YAWL and reset nets, a variant of Petri nets with a special type of arc that can remove all tokens from a place. Next, we explore verification techniques for workflows with cancellation regions and OR-joins. Four structural properties have been identified and a verification approach that exploits coverability and reachability notions from reset nets has been proposed. The work on verification techniques has highlighted potential problems with calculating state spaces for large workflows. Applying reduction rules before carrying out verification can decrease the size of the problem by cutting down the size of the workflow that needs to be examined while preserving some essential properties. Therefore, we have extended the work on verification by proposing reduction rules for reset nets and for YAWL nets with and without OR-joins. The proposed OR-join semantics as well as the proposed verification approach have been implemented in the YAWL environment.

Over the past decade, the ubiquity of business processes and their need for ongoing management in the same manner as other corporate assets has been recognized through the establishment of a dedicated research area: Business Process Management (or BPM). There are a wide range of potential software technologies on which a BPM o®ering can be founded. Although there is signi¯cant variation between these alternatives, they all share one common factor { their execution occurs on the basis of a business process model { and consequently, this ¯eld of technologies can be termed Process-Aware Information Systems (or PAIS). This thesis develops a conceptual foundation for PAIS based on the results of a detailed examination of contemporary o®erings including work°ow and case han- dling systems, business process modelling languages and web service composition languages. This foundation is based on 126 patterns that identify recurrent core constructs in the control-°ow, data and resource perspectives of PAIS. These patterns have been used to evaluate some of the leading systems and business process modelling languages. It also proposes a generic graphical language for de¯ning exception handling strategies that span these perspectives. On the basis of these insights, a comprehensive reference language { newYAWL { is developed for business process modelling and enactment. This language is formally de¯ned and an abstract syntax and operational semantics are provided for it. An assessment of its capabilities is provided through a comprehensive patterns-based analysis which allows direct comparison of its functionality with other PAIS. newYAWL serves as a reference language and many of the ideas embodied within it are also applicable to existing languages and systems. The ultimate goal of both the patterns and newYAWL is to improve the support and applicability of PAIS.

The New Testament writings provide abundant information about the mutual care ministries of church members toward one another. These ministries cover the New Testament landscape, with various examples and commands in both the narratives in Acts and the prescriptive one-another passages in the epistles. Sadly, standard systematic theology manuals give little treatment to this major New Testament theme. Many say little about any form of church ministry, fewer address ministries to members, and fewer still address member-to-member ministries, mentioning only the work of elders and deacons. Chapter one overviews the New Testament evidence and summarizes the deficiencies among systematic theologians. It provides justification for my thesis, namely, that the New Testament presents the church as God’s designed agent and setting for the ministry of mutual Christian care Chapter two explores four ways the New Testament uses the term church: household church, citywide church, regional church, and universal church. We focus on the first two, with the stress on local churches meeting in homes as the normal setting for shared life and mutual ministry. Moreover, the pictures of the church as Christ’s body, God’s family, and God’s new priesthood encouraged members to serve their Christian brothers and sisters. Chapter three demonstrates that the ultimate foundation of all New Testament one-another ministry is found in the salvation work of the triune God. God, Christ, and his Spirit provide models and motives for church members, as recipients of his redemptive grace, to minister to each other. God’s love in Christ, Christ’s self-sacrificial death on the cross, and the Spirit’s relational graces (e.g., the “fruit” of the Spirit) and ministry gifts guide and empower church members to care for each other. Chapter four examines seventeen varied ways that the New Testament describes and prescribes these practical ministries of mutual care, organizing them under three headings—attitudes, actions, and words. These seventeen ministry categories show the wide range of ways in which the New Testament called church members to care for the physical and spiritual needs of fellow members. Chapter five provides a brief conclusion with five summary lessons and some suggestions for further study. / Philosophy, Practical and Systematic Theology / D.Th. (Systematic Theology)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A questão que move esta dissertação é a noção do liame composto a partir do encontro entre duas redes conceituais: o método de ensino musical Pré-Figurativo, de Hans-Joachim Koellreutter, e o pensamento sem imagem, de Gilles Deleuze. Tais conceitos são tomados, aqui, como Multiplicidades em que um é constituído pelo outro, e vice-versa. Trata-se, no caso do ensino musical pré-figurativo, de um método que não se utiliza de modelos prévios e por isso coloca o pensamento em devir e, do pensamento sem imagem, a maneira como tal movimento da produção desse devir-pensar se desterritorializa sendo capaz de delinear algo que ainda não existe, mas que pode existir. Isso caracteriza uma zona de vizinhança, uma espécie de telhagem (tuilage), ou timbragem (no sentido musical do termo), como num telhado mesmo, em que as telhas se recobrem apenas em partes o existir no outro e pelo outro simultaneamente, o que permite que se diga de um devir-outro. O que é um quase outro, mas que não se efetiva no outro ou como outro. Contudo, é com o advento desse liame, ou desse fazer borda, como diria Deleuze, que a música, como ato de criação, acontece, se produz, se autoproduz. / We work here with the notion of bond, composed by the meeting of two conceptual nets: the pre-figurative method of music education, by Hans-Joachim Koellreutter, and the thinking without an image, by Gilles Deleuze. These concepts are taken as multiplicities, one being constituted by the other and vice versa. In the case of pre-figurative, we have a method that does not use previous models and because that takes thinking as becoming; and thinking without an image is a deterritorialising movement designing something that still does not exist but that can exist. That characterized an area neighborhood, a kind of roof, or a tone (in a musical sense), like a concrete roof, in which the tiles to recover only in parts the existence in the other and for the other simultaneously, which allows it to be said of a becoming-other. What is almost another, but it is not another or like another. Its starting from this bond, or this edging, as Deleuze would say, that music, as an act of creation, happens, or is produced.

Made available in DSpace on 2016-06-02T20:25:16Z (GMT). No. of bitstreams: 1 4763.pdf: 4984747 bytes, checksum: b42d25f380a7d3b46dceeb55c2e40069 (MD5) Previous issue date: 2012-12-11 / This work is an investigation about the texts productions written by children of the second year of elementary school in a public school located in the city of Bauru, in order to seek in the process of construction of the sense of the texts the singularities that point to the relation of the word itself with the word another. To this end, we based ourselves on the theory and design of language of Mikhail Bakhtin, as well as on the ponziana and geraldiana theories with respect to the enunciative treaty of language. In this context, we aimed to understand how occurred the literacy process in what circumscribes the practices of texts production and reading, as well as investigate the conceptions of subject that underlie the different practices of reading and writing in literacy. In addition, we conceive the production practice of written text as a discursive activity that correlates sense (implied) and situation (life) in a unique and singular event. We had as goal, also, think about the senses and subject formation processes in the production of language. With basis on the investigative principles of indiciary paradigm and the methodological reflections in Bakhtin Humanities, we try to highlight in a written narrative production, namely, the children's tale Little Red Riding Hood, how the child assumes a active responsive position on its re-telling. In the narrated discourse there are displacement movements that point to a emotive-valuation work, in which stands out the uniqueness of the child; in the meeting between reported word and word that reports, the child's production is characterized as a translation work. / Este trabalho é uma investigação acerca das produções de textos escritos por crianças do 2° ano do Ensino Fundamental, de uma escola pública do município de Bauru, tendo em vista buscar, no processo de construção do sentido dos textos, as singularidades que apontam para a relação palavra própria com a palavra outra. Para tanto, fundamentamo-nos na teoria e concepção de linguagem de Mikhail Bakhtin, bem como nas teorias ponziana e geraldiana no que tange ao tratado enunciativo da linguagem. Nesse contexto, objetivou-se compreender como se deu o processo de alfabetização no que circunscreve as práticas de produção e leitura de textos, bem como investigar as concepções de sujeito que subjazem as diferentes práticas de leitura e escrita na alfabetização. Além disso, conceber a prática de produção de texto escrito como atividade discursiva, que correlaciona sentido (subentendido) e situação (vida) em um evento único e singular. Foi objetivado, ainda, refletir sobre os processos de constituição de sentidos e sujeito na produção da linguagem. Com base nos princípios investigativos do paradigma indiciário e nas reflexões metodológicas em ciências humanas bakhtinianas, procuramos evidenciar em uma produção escrita de narrativa, a saber, o conto infantil Chapeuzinho Vermelho, o modo como a criança assume uma posição responsiva ativa no seu reconto. No discurso narrado há movimentos de deslocamento que apontam para um trabalho emotivo-valorativo, em que sobressai a singularidade da criança; no encontro entre palavra reportada e palavra que reporta a produção da criança se caracteriza como um trabalho de tradução.

Submitted by LUCIA QUINTILIANO null (luciaquintiliano@hotmail.com) on 2016-08-19T15:50:32Z No. of bitstreams: 1 Lúcia quintiliano_Imagens além ponte.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-08-23T17:12:21Z (GMT) No. of bitstreams: 1 quintiliano_l_me_ia.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) / Made available in DSpace on 2016-08-23T17:12:21Z (GMT). No. of bitstreams: 1 quintiliano_l_me_ia.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) Previous issue date: 2016-06-28 / Enquanto “ser-com-os-outros”, consequentemente somos feitos de camadas, de afecções de outros corpos sobre os nossos corpos. Refletir a produção artística individual e coletiva resultantes destas afecções é o propósito desta dissertação, que tem como base reflexiva as inter-relações desenvolvidas dentro de projetos artísticos relacionais que trazem em sua constituição a presença sensível e corporal do outro, em que a arte é a intermediadora das relações humanas. Projetos artísticos – nos quais ora sou a artista propositora, ora a artista colaboradora – como em Ultramar-Ilha Diana (2013), de autoria de Maurício Adinolfi, e em Invasão (2013-2015) e Tramas (2011-2015), proposições autorais. Apresento ainda as produções artísticas individuais resultantes deste processo de alteridade. / As “being-with-others”, hence we are made of layers, of affections from other bodies on our own bodies. Reflect the individual and collective artistic production result of these affections is the purpose of this dissertation, which has at its basis the reflective inter-relationships developed inside of the relationals art projects that brings in their constitution the sensitive and corporal presence of the other, in which the art is mediator of human relations. Art projects – in which sometimes I am the artist proponent, sometimes I am the artist collaborator – as in Ultramar-Ilha Diana (2013), authored by Maurício Adinolfi, and in Invasão (2013-2015) and Tramas (2011-2015), my own propositions. I also present individual artistic productions resulting from this otherness process.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A questão que move esta dissertação é a noção do liame composto a partir do encontro entre duas redes conceituais: o método de ensino musical Pré-Figurativo, de Hans-Joachim Koellreutter, e o pensamento sem imagem, de Gilles Deleuze. Tais conceitos são tomados, aqui, como Multiplicidades em que um é constituído pelo outro, e vice-versa. Trata-se, no caso do ensino musical pré-figurativo, de um método que não se utiliza de modelos prévios e por isso coloca o pensamento em devir e, do pensamento sem imagem, a maneira como tal movimento da produção desse devir-pensar se desterritorializa sendo capaz de delinear algo que ainda não existe, mas que pode existir. Isso caracteriza uma zona de vizinhança, uma espécie de telhagem (tuilage), ou timbragem (no sentido musical do termo), como num telhado mesmo, em que as telhas se recobrem apenas em partes o existir no outro e pelo outro simultaneamente, o que permite que se diga de um devir-outro. O que é um quase outro, mas que não se efetiva no outro ou como outro. Contudo, é com o advento desse liame, ou desse fazer borda, como diria Deleuze, que a música, como ato de criação, acontece, se produz, se autoproduz. / We work here with the notion of bond, composed by the meeting of two conceptual nets: the pre-figurative method of music education, by Hans-Joachim Koellreutter, and the thinking without an image, by Gilles Deleuze. These concepts are taken as multiplicities, one being constituted by the other and vice versa. In the case of pre-figurative, we have a method that does not use previous models and because that takes thinking as becoming; and thinking without an image is a deterritorialising movement designing something that still does not exist but that can exist. That characterized an area neighborhood, a kind of roof, or a tone (in a musical sense), like a concrete roof, in which the tiles to recover only in parts the existence in the other and for the other simultaneously, which allows it to be said of a becoming-other. What is almost another, but it is not another or like another. Its starting from this bond, or this edging, as Deleuze would say, that music, as an act of creation, happens, or is produced.

Por convergência teórica, esta tese de dissertação é estruturada em quatro capítulos, retomando a teoria das cinco peles de Hundertwaser. O artista austríaco, filho de mãe judia e pai ariano, realizou em Paris sua primeira exposição no ano de 1954 e desde então, não cessou mais de trabalhar, aglutinando os exercícios de arquiteto, ambientalista, naturista e higienista moral, assim como as atividades de pintor e gravador, todos efetivados nos múltiplos diálogos estabelecidos por cada pele. As cinco peles de Hundertwasser acredita o homem como um ser de camadas, que se desenrolam por uma espiral concêntrica, que parte do eu-profundo para o mundo exterior, operada por osmose, nas cadeias sucessivas dos níveis de consciência do indivíduo. as cinco peles de Hundertwasser são um plano de vida - e mais: uma reflexão profunda do ser e estar sobre a terra, colocado em prática ao longo de sua jornada artística. A abordagem pretende desdobrar tal teoria - o que cada pele me suscita - no corpo fabril da minha produção em relação a de outros artistas e teóricos. A transmissão das cinco peles de Hunderwasser desenvolve-se em situações de alargamento das peles. Uma apropriação que re contextualiza, revela novos posicionamentos no caminhar da arte contemporânea / By theoretical convergence, this thesis dissertation is structured in four chapters, referring to the five skins theory of Hundertwasser. The Austrian artist, son of a Jewish mother and German father, held his first exhibition in Paris in the year 1954 and has not stopped since then, as an architect, environmentalist, naturist and moral hygienist, as well as the activities of painter and engraver, all ralized in the multiple dialogues established for each skin. The five skins of Hundertwasser are: the first skin, the epidermis; the second skin, clothing; the third skin, the home; the fourth skin, our social identity; and finally, th fifth planetary skin. Hundertwasser believe the man is a being of layers, which unrolls as a concentric spiral, that part form the deep-self to the outside world, operated by osmosis, in the successive chains of consciousness levels of the individual. The five skins of Hundertwasser are a life project - and more: a deep reflection of the being and standing on the earth, put into practice along his artistic journey. The approach seeks to unroll such theory - what each particular skin brings me - in the body of my production, relating to other artists and theorists. The transmission of the five skins of Hunderwasser develops as situations that extendes the skins. An appropriation that brings new context, revealing new ways of contemporary art

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xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean. / Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies