Thesis (M.A.)--University of Wisconsin--Madison, 1971. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 139-151).

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61). Also available in print.

Thesis (Ph. D.)--University of Pennsylvania, 1992. / Includes bibliographical references (leaves [321]-332).

Thesis (M.A. in Security Studies (Far East, Southeast Asia, The Pacific))--Naval Postgraduate School, June 2010. / Thesis Advisor(s): Miller, Alice L. ; Second Reader: Chakwin, Mark. "June 2010." Description based on title screen as viewed on July 15, 2010. Author(s) subject terms: Confucianism, Confucian ideals and values, PLA modernization, PLA professionalization, PLA Core Military Values. Includes bibliographical references (p. 55-60). Also available in print.

Thesis (M.A.)--Wisconsin. / Includes bibliographical references (leaves 80-81).

Submitted by Pós-Com Pós-Com (pos-com@ufba.br) on 2015-01-15T13:47:50Z No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / Approved for entry into archive by Vania Magalhaes (magal@ufba.br) on 2018-01-30T14:39:02Z (GMT) No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / Made available in DSpace on 2018-01-30T14:39:02Z (GMT). No. of bitstreams: 1 Humberto_Saldanha.pdf: 1633909 bytes, checksum: adf534744bcdcad8dffeaf8605f8475e (MD5) / CNPQ / O presente trabalho tem por objetivo investigar a obra do cineasta sul-coreano Park Chanwook, partindo da hipótese de que seu universo fílmico é fortemente marcado por uma retórica excessiva, que se manifesta através do modo como a narrativa se estrutura e mediante a manipulação dos materiais da linguagem e da técnica cinematográfica. Acreditamos que Park articula seu trabalho artístico sobre uma retórica de representação exacerbada da violência, construção hiperbólica dos protagonistas, além de colocar em primeiro plano os dramas, dores e sentimentos dos personagens. Sendo assim, esta pesquisa se estrutura sobre duas abordagens principais a respeito do excesso cinemático. A primeira delas leva em consideração os materiais plásticos e sonoros postos em cena de modo exagerado; enquanto a segunda perspectiva caracteriza o excesso a partir da construção de cenas e sequencias, cujos elementos estilísticos trabalham para produzir um engajamento emocional no espectador. A fim de limitarmos o corpus analítico, optamos por nos concentrar no exame dos filmes concernentes à Trilogia da vingança, a saber, Mr. Vingança (Boksuneun Naui Geot, 2002), Oldboy (idem, 2003) e Lady Vingança (Chinjeolhan Geumja-si, 2005), pois, dentro da filmografia do diretor, são as obras que melhor contemplam as singularidades de Park, uma vez que suas particularidades estão impressas na construção plástica, narrativa, temática, sonora, etc. Tendo essas questões em mente, nossos problemas de investigação são: 1) averiguar como o excesso é construído na trilogia e; 2) identificar quais são os efeitos programados para causar efeitos sentimentais no âmbito da apreciação. Além disso, tais questões serão contempladas levando em consideração o contexto de produção (campo) em que Park Chan-wook se insere, comparando sua obra com outras produções sul-coreanas, na tentativa de mostrar as distinções e semelhanças entre os trabalhos. Nossa pesquisa foi guiada por dois pressupostos teóricos vinculados à poética: o Neoformalismo, método de autoria dos pesquisadores David Bordwell e Kristim Thompson; e a poética do cinema, metodologia desenvolvida pelo pesquisador Wilson Gomes. Ambos os métodos consideram o filme um material expressivo, formado por programas e estratégias de conformação. Por fim, para auxiliar na observação das emoções fílmicas, chamamos em causa as pesquisas desenvolvidas pelos cognitivistas, especialmente as premissas de autoria de Noël Carroll. Atrelado a isso, pretende-se também lançar luz a um fenômeno presente na cinematografia mundial: a consolidação de uma indústria cinematográfica sul-coreana. Acreditamos que a ênfase em um diretor do país acrescentará questões relevantes para discussões sobre o assunto. / The pres ent study aims to investigate the work of South Korean filmmaker Park Chan - wook, assuming that its film ic universe is strongly marked by excessive rhetoric, which is manifested through the way the narrative structure s itself and the manipulation material o f language and cinematic technique. We believe that Pa rk articulates his artwork on rhetoric of representation exacerbated violence, hyperbolic construction of the protagonists, beyond put in the foreground the tragedies, pains and feelings of the characte rs. Thus, this research is structured on two main approaches regarding the cinematic excess. The first one takes into accou nt the plastic and sound effects put in place in a much exaggerated way , while the second perspective is based on the construction of scenes and sequences, whose stylistic elements work to produce an emotional engagement in the viewer. In order to limit the analytical corpus , we chose to focus on the examination of films concerning the Revenge Trilogy : Sympathy For Mr. Vengeance ( Boksun eun Naui Geot , 2002), Oldboy ( idem , 2003) and Sympathy For Lady Vengeance ( Chinjeolhan Geumja - si , 2005) , because, in the director's filmography, those works contemplate better the singularities of Park ’s work since these peculiarities are printed on its pl astic construction, narrative, thematic , sound, etc.. With these aspects in mind, our research problems are: 1) find out how the excess is built in the trilogy and, 2) identify what the effects are progr ammed to cause emotional reactions in the spectator . Moreover, such issues will be addressed taking into account the context of production ( field ) in which Par k Chan - wook is located , comparing his work with other South Korean productions in an attempt to show the differen ces and similarities between those wo rks. Our research was guided by two theoretical assumptions related to poetry : the Neoformalism , method authored by researchers David Bordwell and Thompson Kristim, and the Poética do Cinema , methodology developed by researcher Wilson Gomes. Both methods c onsider the film an expressive material, consisting of programs and strategies conformation. Eventually , to assist in the observation of fil mic emotions, this work call into attention the research developed by cognitivists, especially the assumptions writt en by Noël Carroll. Linked to this, the aim is also to shed light on a phenomenon present on cinematographic world: the consolidation of a South Korean film industry. We believe that the emphasis on a country director add relevant questions to discussions about this subject.

The main objectives of this dissertation are: to research the theatrical term “artistic director”; and to investigate how an artistic director of a theatre troupe performs as an “auteur in contexts”. Through the case study of Dr. Joanna Chan (Chan), the second-ever artistic director of the Hong Kong Repertory Theatre (“the Rep / HKRep” / the Theatre), this dissertation examines the execution of her artistic directorship while she worked for a theatre company established and operated by the British colonial government. Auteur theories, Andrew Sarris’ in particular, are applied to investigate Chan’s creative works. “Artistic director” is a relatively new term in drama history. No serious or special studies have been conducted on the position, despite the fact that the job-holder is the creative force of a theatre company – by no means a meagre role. This dissertation closely studies the artistic directorship of Chan as an “auteur in contexts” when she took up the position at HKRep during Hong Kong’s final decade under British rule, particularly after the Sino-British Joint Declaration had been signed. Taking advantage of special political and social contexts, and as a Catholic nun with a broadly exposed, overseas educational background and an established career in theatre, Chan created local discourses in Hong Kong as an “auteur in contexts” by writing original plays and setting up the Rep’s first-ever theme for its drama season – Facing Deadlines. The bold and unique offerings of the drama season she designed, along with her other artistic works, all explored individuals’ dilemmas, social anxieties, and the Hong Kong people’s conflicting identity, induced by “the 1997 deadline”. Her emphasis on writing and promoting original plays had greatly contributed to the shift in the Rep’s programming from purely artistic offerings to productions tinted with social agendas. Through first-hand information obtained by interviewing Chan, other industry insiders and drama critics; through close study of Chan’s plays for textual analyses; and through research carried out particularly in the Rep’s news clippings library, this case study investigates how Chan as an artistic director managed to carve out a space for herself, to display her own style as an “auteur in contexts” of the text of HKRep, and to influence the local drama scene while working under a system replete with governmental constraints as well as facing larger political, social and cultural changes in society

With the advent of autonomous vehicles, the issue of safety-evaluationhas become key. ISO26262 recommends using Markov chains. However, in their most common form, Markov chains lack the flexibility required to model non- exponential probability distributions and systems displaying parallelism. In these cases, generalized semi-Markov processes arebetter suited. Though, these are significantly more taxing to analyze mathematically.  This thesis instead explores the option of simulating these systemsdirectly via MATLAB’s Simulink and Stateflow. An example system, here called CASE, currently under study by Scania was used as an example. The results showed that direct simulation is indeed possible, but the computational times are significantly greater than those from standard MATLAB-functions. The method should therefore be employed on parallel systems when results with a high level of fidelity are needed, and alternative methods are not available.

Yongming Yanshou has been defined in previous scholarship as a "Chan Master," though I contend this designation does little to clarify the type of Buddhism he professed. In this thesis I argue that Yanshou viewed the Chan tradition as a movement completely integrated with the scriptural-based Chinese Buddhist traditions of his day, and Chan lineage, a primary feature around which the Song Chan tradition would base themselves, was only of peripheral concern. Instead, Yanshou took the Chan teachings and the scriptural traditions present in the mid-tenth century and organized them all under the "axiom of the one-mind" (yixin zong). This axiom formed the ontological foundation on which all of Yanshou's Buddhist theory and concepts are based, and through an investigation centering around the concept of li ("principle") in the extant writings of both Yanshou and Zongmi, I argue that Yanshou equated the one-mind (yixin) with li in a way that Zongmi never did, and li for Yanshou became synonymous with the axiom of the one-mind as Yanshou's ontic basis. / Thesis / Master of Arts (MA)

No description available.