Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-18Bitstream added on 2014-06-13T19:59:50Z : No. of bitstreams: 1 sampaio_a_me_sjrp.pdf: 947406 bytes, checksum: 439f9305de41533c9a4b49fefb3caad1 (MD5) / Esta dissertação analisa a peça Translations (1980), de Brian Friel, a partir de uma leitura póscolonial da situação irlandesa do final da década de 1970. Como primeira produção da Companhia de Teatro Field Day, Translations fez parte do projeto de restabelecer a consciência política das artes em relação às tradições da nação, do sujeito irlandês e sua língua. Nossa proposta é a de que a peça de Friel se constrói como uma atualização histórica, a qual se desdobra em dois planos textuais, um denotativo e um figurativo, em que a relação colonial entre Irlanda e Inglaterra se apresenta como metáfora dos problemas contemporâneos que envolvem a República e o Norte. Assim, na busca por um conceito de identidade nacional e cultural irlandesa, pensamos a peça de Friel sob o enfoque da revisão histórica do nacionalismo, representada na releitura ficcional da colonização no período do século XIX. Para tanto, trabalhamos o desenvolvimento discursivo do nacionalismo irlandês para, então, focarmos na questão do discurso e suas formações e no pós-colonialismo como resposta às práticas hegemônicas. Por meio da seleção de trechos da peça – diálogos e rubricas –, analisamos a posição discursiva de cada personagem no embate cultural entre colonizado e colonizador, segundo as estratégias pós-coloniais de que se serve o escritor na representação do sujeito. Vemos que, em Translations, a busca por uma identidade livre de qualquer essencialismo revela uma consciência e intenção política do autor; além disso, subjacente a esse processo, está um exame “auto-crítico” da imagem do escritor pós-colonial e de seu posicionamento estratégico dentro da representação literária. / This dissertation is an analysis of Brian Friel’s play Translations (1980), based on a postcolonial reading of the Irish situation at the end of the 1970s. As the first production of the Field Day Theatre Company, Translations was part of a project which was aimed at reestablishing a political conscience in the artistic world regarding the nation’s tradition, as well as the Irish subject and his/her language. We propose that Friel’s play takes the form of a historical updating which operates both denotatively and figuratively, in which aspects of the colonial history of Ireland and England are used as a metaphor for contemporary problems involving the Republic and the North. Thus, in seeking a concept for Irish national and cultural identity, we consider Friel’s play as a form of nationalist historical revision, represented as a fictional re-reading of nineteenth-century colonisation. We study the discursive development of Irish nationalism in order to focus on the issue of discourse and its formation, as well as on post-colonialism as a response to hegemonic practices. Based upon a selection of extracts from the play – both dialogue and stage directions –, we analyse the discursive position of the principal characters with regard to the cultural confrontation between colonised and coloniser, according to the postcolonial strategies available to the writer in his representation of the subject. In Translations, we see that the search for an identity free of essentialism reveals the author’s conscience and political intention; in addition, we demonstrate that Friel is conducting a self-critical examination of the image and strategic position of the postcolonial writer.

Brain-computer interface (BCI) or Brain Machine Interface (BMI) provides direct communication channel between user’s brain and an external device without any requirement of user’s physical movement. Primarily BCI has been employed in medical sciences to facilitate the patients with severe motor, visual and aural impairments. More recently many BCI are also being used as a part of entertainment. BCI differs from Neuroprosthetics, a study within Neuroscience, in terms of its usage; former connects the brain with a computer or external device while the later connects the nervous system to an implanted device. A BCI receives the modulated input from user either invasively or non-invasively. The modulated input, concealed in the huge amount of noise, contains distinct brain patterns based on the type of activity user is performing at that point in time. Primary task of a typical BCI is to find out those distinct brain patterns and translates them to meaningful communication command set. Cursor controllers, Spellers, Wheel Chair and robot Controllers are classic examples of BCI applications. This study aims to investigate an Electroencephalography (EEG) based non-invasive BCI in general and its interaction with a web interface in particular. Different aspects related to BCI are covered in this work including feedback techniques, BCI frameworks, commercial BCI hardware, and different BCI applications. BCI paradigm Steady State Visually Evoked Potentials (SSVEP) is being focused during this study. A hybrid solution is developed during this study, employing a general purpose BCI framework OpenViBE, which comprised of a low-level stimulus management and control module and a web based Google Street View client application. This study shows that a BCI can not only provide a way of communication for the impaired subjects but it can also be a multipurpose tool for a healthy person. During this study, it is being established that the major hurdles that hamper the performance of a BCI system are training protocols, BCI hardware and signal processing techniques. It is also observed that a controlled environment and expert assistance is required to operate a BCI system.

Please read the abstract in the 00front part of this document / Thesis (DLitt (English))--University of Pretoria, 2007. / English / unrestricted

The well-known outcome of the 1988 federal election – a Conservative Party majority in Parliament and an effective “yes” to the question of whether or not the Free Trade Agreement between Canada and the United States was desired – tends to obscure the importance of the process by which a large non-party based opposition movement sought to cultivate and organize the public’s understanding of the election’s central premise. While the opposition movement failed to have Prime Minister Brian Mulroney removed from power, the discursive process that the movement both created and was the driving force behind, is key to understanding the historical context of the debate over free trade itself. This thesis will illustrate that there existed a discursive process amongst the efforts of the anti-free trade movement from 1985-1988 to cultivate, organize, and mobilize public opposition to Mulroney’s neo-liberal economic policies, through re-framing those objections into a larger and more deeply-rooted Canadian historical narrative. A discourse analysis was conducted using the various public education materials produced by major anti-free trade civil society organizations in Canada. The examination of that discourse revealed three major stages in the overall process: First, organizations relied heavily on classic paradigms of an anti-continentalist narrative to reinforce what was different between the two countries creating an us and them paradigm and building a case for Canadian exceptionalism. Second, there was an intensification of the us and them language into a more defined us versus them, or them against us, dichotomy. Third, the anti-free trade movement sought to effectively translate the previously established civic opposition into pragmatic political action in preparation for a national election campaign. The results show that there was an evolution in the ways members of the civil society opposition framed and evolved their arguments in order to turn their “issues” into more of a “crisis.” By employing (and expanding on) discursive tools used within that public narrative to generate fear of the other to validate illusions of self, and to construct believable threats to the collective, the more “micro” discussion over the growing pervasiveness of neo-liberalism took on a hyper-nationalistic and symbolic routine, one that mirrored the iconic political and electoral debates in 1891 and 1911, both of which had also been based upon the potential for free trade with the United States. Most of all, the evidence points to a popular opposition movement against free trade, which not only significantly pre-dated the official political opposition, but in some respects created its message and focus.

In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research.

In her diploma thesis titled "Depiction of the figure of judge in selected Czech media", the author aims to analyse what levels of representation are used to depict the figure of a judge in selected Czech series. The selected five figures of judges are described on the basis of their physical description, roles in society, behaviour and relationships by which their character is co-created. The author focused mainly on stereotypes, which were used to depict the figures. Part of the analysis of the figures of judge is their classification into the category of heroes or villains according to the typology of figures by Brian McNair. Also utilized are the typology of figures by E.M. Forster and Seymour Chatman. The media's depiction of the judges in selected series is positive. At the level of representativeness, it influences the perception of the institution of courts, which are shaped by the depiction of the judicial profession. 1

This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.

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