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The topic of this thesis is spin doctoring. It understands terms "spin" and "spin doctoring" as deliberate manipulation with public opinion by means of communication. The thesis includes an account of relevant concepts as are public relations, propaganda or corporate spin. It describes academical approaches to this issue. The authors criticize especially a corruptive influence of spin doctoring on democratic society and manipulative nature of public relations, but they offer possibilities of counteraction against these practices as well. The thesis considers both historical and recent manifestations of spin doctoring. Many examples analysed in this thesis concerns political environment of the Great Britain. Techniques and practices of spin doctoring such as "third party technique", "astroturfing" or "denigration campaings" are thoroughly explained. The perspective of semiotics and spin doctoring as manipulation with sign within social environment are concerned. The conflict between critics of spin doctoring and representatives of public relations is interpreted as discoursive discrepancy and both the antagonist discourses are analyzed. One chapter is devoted to spin doctoring within pharmaceutical industry. The practices and techniques of spin doctoring are interpreted in detail on this example....

The topic of this thesis is spin doctoring. It understands terms "spin" and "spin doctoring" as deliberate manipulation with public opinion by means of communication. The thesis includes an account of relevant concepts as are public relations, propaganda or corporate spin. It describes academical approaches to this issue. The authors criticize especially a corruptive influence of spin doctoring on democratic society and manipulative nature of public relations, but they offer possibilities of counteraction against these practices as well. The thesis considers both historical and recent manifestations of spin doctoring. Many examples analyzed in this thesis concerns political environment of the Great Britain. Techniques and practices of spin doctoring such as "third party technique", "astroturfing" or "denigration campaings" are thoroughly explained. The perspective of semiotics and spin doctoring as manipulation with signs within social environment are concerned. The conflict between critics of spin doctoring and representatives of public relations is interpreted as discoursive discrepancy and both the antagonist discourses are analyzed. One chapter is devoted to spin doctoring within pharmaceutical industry. The practices and techniques of spin doctoring are interpreted in detail on this example....

[pt] Neste trabalho um modelo dinâmico para um rotor vertical em balanço, considerando o fenômeno de contato com a sua guarda, é analisado. A conjunto é modelado como um sistema eixo-rotor-estator com contato. A análise do contato é particularmente complexa pela não linearidade nas equações de movimento. O impacto com o estator é levado em conta através do modelo de contato tipo Kelvin-Vôigt, e, as equações de movimento, do rotor, são deduzidas através da formulação Lagrangeana; estas equações podem capturar os fenômenos devido à vibração lateral, como: precessão direta, precessão retrograda, rolamento e escorregamento. Pela existência de diferentes parâmetros combinados e devido à não linearidade da equação de movimento, a resposta dinâmica não é simples de ser obtida apriori. Portanto, métodos numéricos são empregados para a solução, especificamente emprega-se o método de Runge-Kutta Fehlberg de passo variável. Os resultados da simulação mostram que para certas condições, o rotor pode mudar de orbita devido aos impactos com o estator, podendo chegar a realizar precessão retrograda. Este tipo de fenômeno é considerado como o mais violento e perigoso nas maquinas rotativas. Com o fim de estudar a dinâmica lateral do sistema, um rotor vertical em balanço com guarda anular é investigado. A passagem dela através de sua velocidade critica, quando conduzida por um motor elétrico, é analisada (e também quando o sistema opera em velocidades constantes). Além disso, neste trabalho, os resultados experimentais obtidos da bancada de experimentação são usados para estudar o fenômeno da precessão. / [en] In this work a dynamic model for the overhung rotor, considering the contact phenomenon between the rotor and the stator is analyzed. It is modeled as a shaft-rotor- stator system with contact. The analysis of contact is particularly complex, due to the high nonlinearity of motion equations. Impact with the stator is accounted by a consistent contact model, as Kelvin-Vôigt model, and, rotor`s motion equation is encountered employing Lagrangean`s method; this equations are capable of capturing the phenomenon due to lateral vibration, as: forward whirl, backward whirl, rolling or sliding along the stator. Due to the combined parameters and the effect of nonlinearity in motion equations, the dynamical response is not simple or easily predictable. Numerical simulation is the preferred method of analysis, exactly is used the Runge-Kutta Fehlberg method with variable step. Simulation results show that under certain conditions, a rotor changes its orbit due the impacts with the stator and after that, it executes backward whirl motion. It is a kind of phenomenon, which is considered as the most violent and dangerous in rotating machines. To this end, the analysis of a vertical overhung shaft-disc system with annular guard is investigated. The passing through its critical speed is analyzed when driven by an electric motor (also when the system operates under a constant rotational velocity). In addition, in this work the results obtained with an experimental test rig are used to investigate the whirl phenomenon.

Submitted by Vasti Diniz (vastijpa@hotmail.com) on 2017-09-18T11:49:17Z No. of bitstreams: 1 arquivototal.pdf: 2571485 bytes, checksum: 176b4eb5f639864aaef387d41330b286 (MD5) / Made available in DSpace on 2017-09-18T11:49:17Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2571485 bytes, checksum: 176b4eb5f639864aaef387d41330b286 (MD5) Previous issue date: 2016-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / After the formulation of general relativity differential geometry has become an increasing important tool in theoretical physics. This is even more clear in the investigation of the so-called embedding space-time theories. In this work we focus our attention in the Cauchy problem. These have played a crucial role in our understanding of the mathematical struc­ture of general relativity and embedding theories. We investigate the similarities and diffe­rences between the two approaches. We also study an extension of the Campbell-Magaard theorem and give two examples of both formalisms. / A geometria diferencial passou a ser uma ferramenta fundamental na fisica com o surgi­mento da relatividade geral. Em particular, destacamos sua importância na investigado das chamadas teorias de imersdo do espaco-tempo. Neste trabalho analisamos dois grandes for­malismos fundamentados de forma direta ou indireta na teoria de imersões: o teorema de Campbell-Magaard e o problema de Cauchy para a relatividade geral. Tendo como princi­pal objetivo tracar um paralelo entre esses dois formalismos, estudamos, nesta dissertacdo, o problema de valor inicial (pvi) para a relatividade geral mostrando que alem de admitir a formulae-do de pvi, a mesma é bem posta. Ademais, aplicamos este formalismo para o caso de uma metrica do tipo Friedmann-Robertson-Walker em (3+1). Estudamos tambem o teorema de Campbell-Magaard e sua extensdo para o espaco-tempo de Einstein e aplicamos este teorema para uma metrica do tipo de Sitter em (2+1).

All around society, examples are found for how the debate for equality is being rhetorised, giving various suggestions for how the struggle should, or may, be fought, as well as suggestions for who and whom should be included within the term equality. Here a study is presented on the feminst equality campaign SheForHe and the debate article ”Men can – but you need our help”, in which a critique of malevolent norms of masculinity encourages women to free the man from the chains of patriarchy. The purpose is to investigate how, within the perspective of rhetorics, the article can be seen as to challenge the present discourse in the debate about equality through the following questions: Which motives are being constructed? Which rhetorical strategies are at play? Which ”men” and which ”women” as well as their internal relations are constructed? This is done based on Kenneth Burke’s theories on dramatism and the pentad as method of analysis for change of perspectives, as well as Karlyn Khors Campbell’s theories on the rhetoric of women’s liberation. The analysis is discussed drawing from Judith Butler’s terms performativity and the heterosexual matrix. The main conclusion is that the article can be seen as a rhetorical action in solidarity that through a societal critique aims to offer men new possibilties of identification. At the same time the article can be regarded as, within the scope of the equality debate, a rhetorical provocation that gives women actorship in the struggle for equality and highlights a male dominance within the debate. A further conclusion is that the article, although it may be viewed as an important act of resistance, is at risk of reproducing the view of ”men” and ”women” as homogenous collective identities, further constituting the gender system and contributing to the consolidation of a learned mandatory heterosexuality.

Released in 2019, the video game Death Stranding follows the monomythic structure described by Joseph Campbell in his 1949 book The Hero with a Thousand Faces. The journey begins with the protagonist, Sam “Porter” Bridges, reluctantly accepting his calls to adventure, and, as he begins to move west, he receives supernatural aid from an increasing number of helpers he encounters along the way. Crossing the thresh-old, into the world of danger and adventure, has him meeting the threshold guardian Higgs, the primary antagonist of the game. During this first stage, the player of the game learns how to control Sam’s movements and how to navigate this world to-gether with the Bridge Baby known as Lou, who helps Sam on his journey. The second stage of the journey has Sam moving through a road of trials, overcoming both the physical obstacles of the terrain and the emotional obstacles of the people he helps along the way. He is at one point tempted to adopt the Bridge Baby Lou, his primary helper, but resists said temptation and continues on his jour-ney, until he is finally reunited with his sister, Amelie, who is threatening to end hu-manity in an extinction event. The lessons he has learnt on his journey – to focus on helping others and only using violence when the situation calls for it – leads him to his apotheosis, which is the realization of the value of other people and the relation-ships between them. With this realization, and Sam’s physical manifestation of it in his embracing of Amelie, convinces her that humanity deserves to live to die another day, and so the world is saved from falling into ruin. The third stage of Sam’s journey has him struggling to return home, aided at long last by the help of the friends he made on his journey. Sam, however, is uninter-ested in the world he helped save, and aims to return to his life of solitude. Upon his atonement with his father, however, he resolves this internal conflict and he is now free to live life as he wishes – as a father to the now freed baby Lou. The use of game mechanics in Death Stranding ultimately provides the player with alternatives to violence, giving way to a narrative that can contain as-pects of the monomythic hero that are not exclusively related to the typical warrior hero seen in most action games. Instead, the game frames the tools of the warrior as the stepping-stone to the hero as lover, who uses more peaceful means to achieve their goals. This exemplifies the potential of the video game medium as a platform for the monomyth, and how games could come to encompass a wider variety of he-roic figures than those currently available. / Tv-spelet Death Stranding, som släpptes 2019, följer den monomytiska strukturen som beskrivs av Joseph Campbell i hans bok från 1949, The Hero with a Thousand Faces. Resan börjar med att huvudpersonen Sam "Porter" Bridges motvilligt accepterar hans uppmaningar till äventyr, och när han börjar färdas västerut får han övernaturlig hjälp från ett antal personer han möter på vägen. När han korsar tröskeln, in i en värld av fara och äventyr, möter han tröskelväktaren Higgs, spelets främsta antagonist. Under detta första steg lär sig spelaren hur man kontrollerar Sams rörelser och hur man navigerar i denna värld tillsammans med en Bridge Baby känd som Lou, som hjälper Sam på hans resa. Den andra etappen av resan rör sig Sam genom en väg av prövningar och övervinner både de fysiska hindren i terrängen och de känslomässiga hindren för de människor han hjälper på vägen. Han är vid ett tillfälle frestad att adoptera Lou, hans främsta medhjälpare, men motstår nämnda frestelse och fortsätter på sin resa, tills han slutligen återförenas med sin syster, Amelie, vars förmågor hotar att göra slut på mänskligheten i en utrotningshändelse. Lärdomarna han har fått sig på sin resa – att fokusera på att hjälpa andra och bara använda våld när situationen kräver det – leder honom till hans apoteasis, som är insikten om värdet av andra människor och relationerna mellan dem. Denna insikt, och Sams fysiska manifestation av det i hans omfamning av Amelie, övertygar henne om att mänskligheten förtjänar att leva för att dö en annan dag, och så räddas världen från att falla i ruin. Under den tredje etappen av Sams resa får han kämpa för att återvända hem, äntligen med hjälp av vännerna han fick på sin resa. Sam är dock ointresserad av världen han hjälpte till att rädda och siktar på att återvända till sitt liv i ensamhet. Efter sin försoning med sin far löser han dock denna interna konflikt och han är nu fri att leva livet som han vill – som en far till den nu frigivna babyn Lou. Användningen av spelmekanik i Death Stranding ger i slutändan spelaren alternativ till våld, vilket ger vika för ett narrativ som kan innehålla aspekter av den monomytiska hjälten som inte enbart är relaterade till den typiska krigarhjälten som ses i de flesta actionspel. Istället ramar spelet in krigarens verktyg som språngbrädan till hjälten som älskare, som använder mer fridfulla medel för att uppnå sina mål. Detta exemplifierar potentialen hos videospelsmediet som en plattform för monomyten, och hur spel kan komma att omfatta ett bredare utbud av heroiska figurer än de som finns tillgängliga för närvarande.

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Since the turn of the century Scottish drama has struggled to create drama distinct from England's. The four century dearth in playwriting is attributed to the antipathy of the Scottish Kirk holding sway in Scotland after King James moved his court to London in 1603. Inspired by Dublin's Abbey Theatre, the Scots' dream of a national theatre is traced through three major periods: Rebirth, Inter-war and Postwar. Analysis reveals organismic development where spurts of growth are followed by plateaus of consolidation. An early stage of Kailyard drama was followed by a return to the Scots dialect. Thus they created their own pseudo-indigenous drama. The national theatre torch first carried by the Glasgow Repertory Company in 1909 passed to the Scottish national Players in the 1920s before settling with the Citizens' Theatre in the 1940s. The Post-war Edinburgh Festival has acted like a pressure-cooker to drama. Two Scottish historical studies point to talented writers and theatrical craft in abundance. Nevertheless, first magnitude writers failed to emerge. Scholars identified major weaknesses as: writers poorly based in dramatic theory; bridging the gap between the parochial and universal; historical themes lacking cognizance of the present; and a reliance on derogatory comic stereotypes. This study of three recent Scottish plays, Chinchilla by David Robert MacDonald, Animal by Tom McGrath and The Jesuit, by Donald Campbell concludes that Scottish drama has overcome its weaknesses. It now passes the test of universality without loss of Scottish ethnicity. Dealing with man's relationship to art, his fellowman and God, all three proclaim their Celtic origins through the imaginative use of space, time and consciousness. The authors' sophisticated, poetic use of language indicates that Scottish drama has arrived at last on the threshold of maturity.

The majority of the letters from Lord Milton quoted are copies which he kept of his more important communications. His main correspondent was the Earl of Ilay (1706), 3rd Duke of Argyll (1743). The Argyll papers at Inveraray Castle are unavailable. Ilay's papers apart from estate material are not at Inveraray, however, being included in his English estate and going to his mistress Mrs Anne Williams or Shireburn, then to her son by him, William Williams or Campbell, and then to the latter's son Archibald Campbell, who gave William Coxe access to them for his Memoirs of Sir Robert Walpole (1798). After that these papers were lost (Sir Lewis Namier having failed to trace them in recent times) and might, if found, be disappointing in one respect, the injunction of Milton to Ilay being to burn his (Milton's) letters. Fortunately Ilay's letters to Milton are preserved in the latter's vast archives (the bulk of the Saltoun Papers at the National Library of Scotland). It is evident that Milton systematically stored every scrap of paper addressed to him. Milton is correctly described as plain Andrew Fletcher before he took the judicial title of Milton from part of his uncle's and father's estate of Salton (there already being a Lord Salton, in the Scots peerage). And his proper title during the centre of his career was, according to the usage of the time, "the Lord Justice Clerk", the designation of Milton not then applying. For simplicity's sake, however, he is referred to throughout as Milton. Similarly Ilay is always referred to as Ilay rather than Argyll to avoid confusing him with his brother the 2nd Duke of Argyll. And the 18th century spelling of Salton is preferred to the preciously antique form of Saltoun now prevailing. I am greatly indebted to Professor R. H. Campbell for his valuable advice and unstinting encouragement, and to Mrs Margaret Anderson, Dr Anand Chitnis, Dr Derek Dow, Dr Alastair Durie, Mrs Rita Hemphill, Mr Murdo MacDonald, Mr Michael Moss, Dr Alexander Murdoch, Miss Chris Robertson, Mr John Simpson, Miss Veronica Stokes, Mr Arnott Wilson, the Secretaries of the Royal Bank of Scotland and the Bank of Scotland and the staff of the National Library of Scotland and the Scottish Record Office for their generous help and cooperation.