The increasing complexity and high stakes of foreign policy decisions, especially of major powers such as the United States, have generated specialized studies of decision making. One approach, called "multiple advocacy," maps a strategy of role tasks and process norms to guide the decision-makers towards an optimal decision-making process. This process allows the President to make an informed policy choice as a result of having heard a variety of options debated freely and openly among his advisors in his presence. A crucial actor in this process is the National Security Advisor. As process manager or "custodian," he must ensure that the key provisions of the strategy are met while abstaining from personal involvement in the substance of policy advice and execution. This thesis examines the internal coherence and usefulness of the strategy. The first two years of the Carter administration provide a close approximation of the strategy. Four important policy issues during this period form the empirical basis of this test: the "Deep Cuts" proposals in SALT II, the war in the Horn of Africa, Sino-American Normalization, and the fall of the Shah of Iran. While the basic principles of the strategy are found useful and sound, several of its provisions are challenged. First, in spite of its claim, the strategy does not produce multiple options when the advisors have no wide divergence of opinion. Second, contrary to the strategy's prescriptions, the custodian can improve the process in such situations by joining the policy debate. Third, custodial engagement in activities such as diplomacy and public speaking need not be prohibited too strictly. Last, the demise of the strategy can be more narrowly defined as the result of custodial disregard for a free flow of information and open participation among the advisors. Though further studies are needed to widen the empirical base, several tentative suggestions are offered to improve the strategy. The president must insist on a reasonable range of opinions when appointing advisors. While the National Security Advisor may join the policy debate to widen the range of options, his policy advice should not become the rule. At all times the President must insist that all policy debates among his advisors be brought to his attention, and that all policy options receive a fair hearing. / Arts, Faculty of / Political Science, Department of / Graduate

The performance of three methods of mortality modelling and forecasting are compared. These include the basic Lee–Carter and two functional demographic models; the basic Hyndman–Ullah and the weighted Hyndman–Ullah. Using age-specific data from the Human Mortality Database of two developed countries, France and the UK (England&Wales), these methods are compared; through within-sample forecasting for the years 1999-2018. The weighted Hyndman–Ullah method is adjudged superior among the three methods through a comparison of mean forecast errors and qualitative inspection per the dataset of the selected countries. The weighted HU method is then used to conduct a 32–year ahead forecast to the year 2050.

The thesis focuses on constructing dynamic model - synchronous generator with using magnetic equivalent circuit diagrams. The model construction is based on knowledge of geometric parameters, magnetic characteristic of used material and fyzical deployment of vindings placed in stator slots. Computed reults are compared with results optained from model created with finite element method.

[ES] En los últimos años, es habitual encontrarnos con investigaciones artísticas que, en el ámbito de la interpretación musical, tienen como última consecuencia recoger el resultado performativo en soporte digital. Sin embargo, una gran parte lo hace situando tal registro audiovisual como algo subsecuente, un fin ulterior sin conexión directa con la materia estudiada o los resultados obtenidos. Los trabajos de investigación que orientan así su enfoque, devuelven un resultado audiovisual desvinculado de los parámetros que han sido objeto del estudio, eludiendo las enormes capacidades semánticas y sintácticas que podría incluir el hecho audiovisual en sí y el consecuente fenómeno de difusión de la obra en redes digitales. Esta investigación se orienta hacia la búsqueda de mecanismos eficaces que hagan converger el estudio y el análisis de una obra contemporánea con el registro y difusión de la misma, procurando acercar al espectador a la mayor parte de las aristas que conforman la obra, al mismo tiempo y de modo que dicho procedimiento se sitúe además como eje fundamental y herramienta de futuras investigaciones, para el montaje y registro audiovisual de cualquier obra. Con nuestra investigación buscamos dar un giro de ciento ochenta grados, en donde el procedimiento del análisis y de la investigación es el fin, dejando por el camino un resultado de manera colateral o como parte del fin, pero en ningún momento es únicamente ese objetivo. Se intenta trasponer el análisis desde el punto de vista perfomativo hacia un resultado que será plasmado en un registro audiovisual, de este modo, la concepción y factura de dicho registro se extraerá a partir de un análisis profundo en materias histórico, estético y estructural (formas, etc). Además, se llevará un proceso de realización mediante la utilización de diferentes planos visuales que lo situará en una posición diferenciada respecto a aquellas otras investigaciones. Todo ello, intentando que el análisis esté estrechamente relacionado con la interacción con la cámara, mostrando aquello que el compositor quería destacar en cada momento, y llevándolo a la pantalla final de manera que el discurso musical tenga la congruencia que se merece. En definitiva, se pretende que el proceso nos acerque un poco más al punto de vista del compositor, intentando averiguar y deducir qué cuestiones se deben destacar y, además, cuándo y cómo. / [CA] En els últims anys, és habitual trobar-nos investigacions artístiques que, en l'àmbit de la interpretació musical, tenen com a última conseqüència recollir el resultat performatiu en suport digital. No obstant això, una gran part ho fa situant al registre audiovisual com una cosa subseqüent, una fi ulterior sense connexió directa amb la matèria estudiada o els resultats obtinguts. Els treballs de recerca que orienten així el seu enfocament, retornen un resultat audiovisual desvinculat dels paràmetres que han sigut objecte de l'estudi, eludint les enormes capacitats semàntiques i sintàctiques que podria incloure el fet audiovisual en si, i el conseqüent fenomen de difusió de l'obra en xarxes digitals. Aquesta investigació s'orienta cap a la cerca de mecanismes eficaços que facen convergir l'estudi i l'anàlisi d'una obra contemporània amb el registre i difusió d'aquesta, procurant acostar a l'espectador a la major part de les arestes que conformen l'obra, al mateix temps i de manera que, aquest procediment se situe a més com a eix fonamental i eina de futures investigacions, per al muntatge i registre audiovisual de qualsevol obra. Amb la nostra investigació, pretenem donar un gir de cent huitanta graus, on el procediment de l'anàlisi i de la investigació és l'objectiu, deixant pel camí un resultat de manera col·lateral o com a part del procés, però en cap moment és únicament aqueix el motiu principal. S'intenta transposar l'anàlisi des del punt de vista performatiu cap a un resultat que serà plasmat en un registre audiovisual; així, la concepció i la factura d'aquest registre s'extraurà a partir d'una anàlisi profunda en aspectes històrics, estètics i estructurals (formes, etc). A més, s'aplicarà un procés de realització mitjançant la utilització de diferents plans visuals que el situarà en una posició diferenciada respecte d'altres investigacions. Tot això, intentant que l'anàlisi estiga estretament relacionat amb la interacció amb la càmera, mostrant allò que el compositor volia destacar en cada moment, i portant-ho a la pantalla final de manera que el discurs musical tinga la congruència que es mereix. En definitiva, es pretén que el procés ens acoste una miqueta més al punt de vista del compositor, intentant esbrinar i deduir quines qüestions s'han de destacar i, a més, quan i com. / [EN] In recent years, it's common to find artistic research that, in the field of musical interpretation, has the final result to collect the music performance in digital support. However, most of them do so by placing the audiovisual record as something subsequent, an farther end without direct connection to the subject matter studied or the results obtained. The research works that thus guide their approach, return an audiovisual result unrelated to the parameters that have been the object of the study, avoiding the huge semantic and syntactic skills that the audiovisual event itself, and the consequent phenomenon of diffusion of the work in digital networks. This research is oriented towards the seek for effective mechanisms that make the study and analysis of a contemporary work converge with its recording and dissemination, trying to bring the viewer closer to most of the edges that make up the work, at the same time and so that this process is also positioned as a fundamental axis and tool for future research, for the audiovisual montage and recording of any work. With this research we seek to turn the approach around, regarding the analysis and investigation procedure as a goal, obtaining collaterally one result, but not as the only or main goal. An attempt is made to bring the analysis from the perfomative point of view to a result that will be reflected in an audiovisual record. This way, the concept of this recording will be fed from a deep analysis in historical, aesthetic and structural matters (forms , etc). Furthermore, a full process of audiovisual production will be carried out through the use of different visual shots that aim to differenciate this research from the aforementioned ones. At all times is intended that the analysis is closely related to the interaction with the camera, showing what the composer wanted to highlight at each section or moment, and taking the visual discourse to the final shot so that the combination of the musical development and the visual path have the congruence it deserves. To sum up, it is intended that the process brings us a little closer to the composer's point of view, trying to find out and deduce what issues should be highlighted, and also when and how. / Orero García, MÁ. (2021). Eight Pieces for Four Timpani de Elliott Carter: Procedimientos en la documentación y difusión en medios digitales basados en la experiencia de concierto [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162114 / TESIS

Fairy tales are usually described as short narratives that end with happily-ever-afters, imposing patriarchal ideologies. The Grimm’s fairy tales serve as the foundation of many other stories which promote stereotypes like woman passiveness, submissive beauty, while men are put on a pedestal for being active and violent at the same time. Angela Carter’s collection The Bloody Chamber depicts patriarchal oppression in classic fairy tales by challenging what can be identified as patriarchal binary oppositions with a strategic subversion of gender roles. Through problematizing and critiquing the patriarchal fairy tales, Carter’s texts can be read through the lens of écriture féminine. Following Hélène Cixous’s notion of écriture féminine, outlined in “The Laugh of the Medusa”, this essay explores how Carter’s  “The Lady of the House of Love'' can be read as a narrative that has strong echoes of the kind of female writing Cixous advocates. Moreover, this essay argues that  “The Lady of the House of Love” contradicts the Western myth of femininity by resisting, exploring, even undermining the patriarchal representation of woman as “heroine”-the fairy tale princess who needs a man to save her -and “femme fatale.”

This thesis analyses the conflict resolution process between Israel and Egypt and provides a new angle for explaining the signing of the first Arab-Israeli peace treaty. Author uses a case study research method that facilitates an in-depth analysis of the topic and answers to three selected research questions: Why did long-lasting hostile countries engage in the negotiations to resolve their conflict?, How did Jimmy Carter mediate the Camp David Summit? and What persuaded Israel and Egypt to finalize the peace treaty?. The thesis is divided into two main analytical parts, according to the theoretical model used for its examination of the research questions. The first part makes use of William I. Zartman's theory of ripeness and its concept of a "mutually hurting stalemate" to explain why two opposing parties might become gradually open towards finding a "way out" from their protracted conflict. By analysing these conditions to reach a "ripe moment", the third-party may produce substantial proposals to resolve their dispute. The second part of this thesis focuses on the mediation process of the U.S. President Jimmy Carter between September 1978 and March 1979. The umbrella theory of third-party mediation is employed to elucidate the mediation strategies, potential biases and leverage of Jimmy...

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A wise Martin Luther King Jr. once said, "Freedom is never given by the oppressor; it must be demanded by the oppressed (King 1)." For as long as men and women have shared the planet, sexism has been a universal issue in civilization. In a social justice context, American society has found ways to oppress people for centuries. The Oxford Dictionary defines sexism as a "prejudice, stereotyping, or discrimination, typically against women, on the basis of sex ("sexism")." Voting rights in America were established in 1790, but it took years of petitioning at various women's rights conventions before the Nineteenth Amendment to the United States Constitution stating "the right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex" was passed in 1920 ("Nineteenth Amendment"). Traditionally, men were supposed to be the strong, decisive, driven, courageous, money-making breed, while women were expected to be the nurturing, affectionate, weak subordinates. Today, we find men and women working in careers previously linked with sexism; men as nurses and teachers, women as CEOs and factory workers. Statistics show that today there are an increasing number of women providing the financial support in their families. As with sexism, people also have been oppressed by racism for centuries. According to The Oxford Dictionary, racism is defined as a "prejudice, discrimination, or antagonism directed against someone of a different race based on the belief that one's own race is superior ("racism")." It has been argued that African Americans have been one of the most oppressed groups in America. Even after they were emancipated in 1865, it was nearly one hundred years later that their rights were protected with the Civil Rights Act of 1964. Before the act's passing, African Americans were denied equal education, employment, housing property, and a political voice. My interest in this topic was peaked right around the same time I became interested in performing on the musical theatre stage. I got my start in local community theatres, and up until college, was the only African American cast in the productions. I started playing multiple ensemble roles per show, and throughout the years advanced myself to "supporting character" but never the lead. Admittedly, there were times when I wasn't as talented as the women who snagged the leading roles, but many a time when I was just as talented or more qualified for the role, it went to another woman - most times of Caucasian descent. What did they have that I didn’t have? When I got accepted into The University of Central Florida as a BFA Musical Theatre student, I auditioned for the plays and musicals every semester, and each season I began to see the same patterns of who was cast for each show. Roles I thought I would get often went to White actors. I felt victimized in this modern-day example of racism. But racism goes beyond black and White. Internal racism between the light-skinned and dark-skinned African American women I was competing with became a factor as well. There were many times when an audition notice called for an African American woman; however, an unsettling trend became very apparent to me; if the casting description was for a maid, or something of that nature, larger, dark-skinned women would get the majority of the callbacks, which would lead to them getting cast. On the flip side, if an audition notice called for an African American ingénue type, more of the slimmer, lighter-skinned women were called back and later cast. Has American society cast a racial stigma for African American beauty?

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