While scholars have analyzed the masculinity crisis portrayed in American fiction, few have focused on postmodernist fiction, few have examined masculinity without using feminist theory, and no articles propose an adequate solution for ending normative masculinity’s dominance. I examine the masculinity crisis as it is portrayed in two postmodernist novels, David Foster Wallace’s novel Infinite Jest and Chuck Palahniuk’s novel Fight Club. Both novels have male characters that ran the gamut of masculinities, but those that are the most successful at avoiding gender stereotypes (Donald Gately in Infinite Jest, and the narrator in Fight Club) develop a masculinity which incorporates strong, phallic masculinity and nurturing, testicular masculinity, creating a balanced gender. At the same time, both novels examine postmodernist fiction’s future. Post-postmodernist fiction, similar to well-rounded masculinity, seeks to be more emotionally open with the reader while still using irony and innovation for meaningful effects, not just to be clever.

Ovaldrehen ist eine alte Drechseltechnik.<br/>Sie wurde seit einigen Jahren durch neue Ovaldrehmaschinen wiederbelebt. Diese Maschinen und ihr Zubehör sowie ihr Gebrauch werden beschrieben. Die Grundlagen bilden getriebetechnische und geometrische Analysen. <br/>Eine Galerie ovalgedrehter Gebrauchsgegenstände zeigt die Vielfalt der Anwendungsmöglichkeiten.<br/>Am Schluss steht ein Verzeichnis relevanter Literatur, Videos und Adressen im Internet und von Ovaldreh-Praxen.

Ovalturning is an ancient woodturning art, recently revived by new ovalturning lathes designed and tested by the author. These lathe, their accessories and their usage and application are described in detail. The fundaments are kinematical mechanism analysis and the ellipse geometry. A gallery of oval turned items for usage shows partially the variety of ovalturning application. At the end is given a list of relevant literature, videos and addresses in the internet and of ovalturning practioners and schools. Second edition

My thesis discusses male identity in contemporary culture in relation to work by Bret Easton Ellis and Chuck Palahniuk. Such work reflects the problems, anxieties, and dilemmas of the masculine subject in American culture. The characters in my six selected texts, namely, Ellis' Less Than Zero, American Psycho, and Glamorama, and Palahniuk's Fight Club, Survivor, and Choke, symbolize a generation with no discernible future. Each male protagonist finds himself in a place of no time and no meaning because image and illusion have supplanted essence. These characters combat culture-prevalent emptiness in the sense that each ironically re-asserts his so-called individuality against the dogmas of the establishment. Each, furthermore, is aware that his existence is not subject to a higher order or preset goal: traditional morality thereby has no meaning. My selected texts feature masculine subjects struggling with their own contingencies once stripped of given privileges (gender, class, race, and otherwise). To examine the notion of masculinity, I emphasize the role of power relations in gender construction. Bret Easton Ellis characterizes a world of appearance defined by particular styles. Chuck Palahniuk's males are empty--they do not have any definitive meaning. Judith Butler challenges the proposition of a fixed identity, or an essential permanent masculinity or femininity as structured and reified by social norms. Therefore, we should not view masculinity as a cohesive and homogeneous category. Following Foucault, I examine the relationship between masculine subjects and social practices. At stake here, is how the performative articulation of proper masculinity disempowers and imprisons the masculine subject in a material form over which he has no control. The body becomes the object of desire and thus the vehicle/preserve of the sense of powerlessness that the masculine subject experiences daily within a hegemonic culture. Power is exercised through a dominant presence. This presence structures as a binary classification serving to underscore differences and ensure particular privileged social positioning. The proposition of a fixed identity, or an essential permanent masculinity or femininity, is structured and reified by social norms. Masculinity as a cohesive and homogeneous category is historically represented as an unstable center from which all other identities are defined.

This thesis examines the issues of body, embodiment and indentity in relation to the novel Fight Club by Chuck Palahniuk. The duality between speech and embodiment is explored in depth, both in the story of the novel and in the author's narrative style. Furthermore, the issue of power in relation to the society as well as towards one's own identity is discussed.

Male túngara frogs can add a distinctive note ("chuck”) to their mating call. Production of the chuck involves vibrating a pair of laryngeal fibrous masses that is attached to the vocal cords. The muscular control of this mechanism remains unknown. Recent studies revealed a split in the laryngeal dilator muscle, which unveiled the deep dilator as a novel laryngeal muscle with unique attachments, innervation, and (likely) function. The deep dilator may position the fibrous masses for chuck production. The goals of this study were 1) to confirm the innervation of the novel muscle through electrophysiology; and 2) to determine the action of each laryngeal muscle (including the deep dilator), in isolation and in combination with one another, to elucidate the control of laryngeal function. I stimulated 32 combinations of the five laryngeal muscles electrically with 3-5 repetitions. Using suction glass electrodes, I stimulated the branches of the laryngeal nerves in excised larynges maintained in saline solution and filmed the resulting movements to measure their displacement due to stimulation. The results showed that the novel muscle is exclusively innervated by the short laryngeal nerve, a condition equivalent to that of the mammalian posterior cricoarytenoid muscle, responsible for opening the vocal cords. Also, contraction of the deep dilator muscle is required and sufficient to produce lateral displacement of the fibrous masses and, therefore, to create a chuck. This identifies the deep dilator as a key element in the evolution of call complexity in túngara frogs. Clarifying the mechanism that controls the addition of chucks to the túngara frog call is an important step in understanding the evolution of signal complexity in animal communication systems. The recognition of the mechanism may allow comparative studies to be made that can reveal why complex calling evolved in the túngara frog lineage while not in others.

No description available.

På papiret virker Fight Club [1999] som et sikkert stikk. En litterær adapsjon utført av en kjent regissør (David Fincher) med solide stjernenavn på plakaten(Brad Pitt, Edward Norton). Men Chuck Palahniuks debutroman fra 1996 er et vanskelig verk, preget av mørk satire, flere lag med ironi og radikal subjektivitet. For å oversette en slik fortelling til film trengs ikke bare dristigheten til å fortelle om kontroversielle tema, men også oppfinnsomheten til å oversette en utpreget psykologisk roman til et audiovisuelt språk. Det er nettopp oversettelsen jeg skal undersøke i denne oppgaven, hvordan romanens kildemateriale har blitt gjenskapt i filmmediet. For å gjøre dette så konkret som mulig, snevrer jeg først inn undersøkelsen til filmens voice-over, som er basert på romanens tekst. Hvordan har bokas fortellerstemme blitt adaptert til en fortellende voice-over i filmen? Jeg skal ta for meg denne prosessen i tre deler, basert på tre stadier i adapsjonsprosessen hvor filmskaperne har hatt anledning til å kreativt bearbeide romanens tekst. Første del er voice-overen sett som skriftlig tekst, manusstadiet. Hva er kuttet, forandret og lagt til romanens tekst? Andre del er voice-overen som stemme, innspillingsstadiet. Hvordan forandres skriften i manus, og dermed også romanens tekst, idet en den blir til uttalte ord? Hvilke virkemidler har filmskaperne her benyttet seg av? Tredje del er fortellerstemmen i møte med resten av filmspråket, klippestadiet. Hvordan påvirker bildene og den øvrige lyddesignen vår opplevelse av fortellerstemmen, og hvordan er påvirkningen den andre veien? Deretter skal jeg utvide perspektivet igjen, og undersøke hvilke implikasjoner bruken av voice-over har for filmen som helhet. Hva kan en film kommuniserer Fight Club på denne måten? Tema blir ironi, upålitelighet, subjektivitet, karakterengasjement og kronologi. Anvendte teoretikere inkluderer Linda Hutcheon, Sarah Kozloff, Thomas Elsaesser, Gerard Genette, Seymour Chatman, André Bazin, Murray Smith og Lars Thomas Braaten.

Esta dissertação analisou como se deu o filosofar na arte das crianças surdas e na busca por práticas estéticas visuais no processo da construção deste filosofar. Para isto, foram realizadas entrevistas (individuais e coletivas) com 10 sujeitos surdos de uma escola municipal de surdos de Gravataí no Estado do Rio Grande do Sul, onde foram apresentadas algumas pinturas dos artistas Da Vinci, Picasso, Portinari e Baird (artista surdo). O objetivo foi o de provocar uma reflexão destes sujeitos, a partir de experiências estéticas, no sentido de que cada um pudesse expressar seus saberes, praticar a vivência do olhar, trazendo suas hipóteses e compreensões sobre as pinturas, observando como estas experiências podiam colaborar para a construção dos filosofares na arte dos sujeitos surdos. Os principais pressupostos teóricos foram os estudos de Michael J. Parsons sobre os níveis estéticos de compreensão da arte, que foram tabulados e sistematizados para uma melhor análise qualitativa dos dados, proposta metodológica optada para a pesquisa. Marly Meira e Walter Kohan perpassam a pesquisa como os alicerces da criação filosófica e o pensar sobre o pensar. Destaco também os estudos de Duarte para a educação do sensível e de Pillar na educação para o olhar. Pôde-se constatar que houve uma notável relação entre as experiências estéticas e os diálogos com a possibilidade de novas compreensões sobre arte e com a criação de novos pensares filosóficos. / This study analyzed the development of the capacity of philosophize in the deaf children art and in search for visual aesthetics practice in the process of constructing this capacity. For this, 10 deaf research subjects were interviewed (individually and collectively) in a municipal deaf school in Gravataí in Rio Grande do Sul state, were they were presented to some pictures from Da Vinci, Picasso and Baird (deaf artists). The goal was to stimulate these subjects to reflect, from aesthetics experiences, in a way of expressing their knowledge and of practicing view experience, bringing their hypothesis and understandings about the pictures and observing how these experiences could contribute to construct the capacity of philosophize in the deaf subject art. The main theoretical support was the Michael J. Parsons’ studies about the aesthetics levels of art understandings which were tabulated and systemized to better qualitative analyses of data. This methodological proposal has been adopted for us in this research. Marly Meira and Walter Kohan’s studies pass through our research as the basis of the philosophical creation and the thinking about the thinking. I would also emphasize the Duarte’s studies in sensitive education and the Pillar’s studies of education for view. We could verify a notable relation between aesthetics experiences and the dialogues with possibilities of new understandings about art and with the creation of new philosophical thinking.

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-07-19T18:00:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-08-22T12:55:16Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) / Made available in DSpace on 2018-08-22T12:55:16Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) Previous issue date: 2017 / Objetivou-se avaliar os efeitos das t?cnicas de matura??o a v?cuo (wet ageing) e a seco (dry-ageing) nas caracter?sticas de qualidade da carne bovina proveniente do m?sculo dianteiro semispinales thoracis de animais Nelore. Foram processados 40 cortes, com peso ap?s toalete de aproximadente 2000g. Estes cortes foram maturados pelas duas t?cnicas de matura??o (embalados em polietileno para t?cnica a v?cuo e sem embalagem para t?cnica a seco) em c?mara fria padr?o comercial, com temperatura m?dia de 3?C e umidade relativa do ar m?dia de 69% durante 5 tempos, a saber: 0, 7, 14, 21 e 28 dias. Os cortes maturados pela t?cnica a seco foram diariamente virados e aspergidos com solu??o de 2% (v/v) de ?cido ac?tico. Os cortes da t?cnica a v?cuo foram aspergidos com a mesma solu??o e imediatamente embalados a v?cuo. Em cada tempo de matura??o foram avaliados rendimentos, for?a de cisalhamento, cor (L a* b* C and H ?), capacidade de reten??o de ?gua, perda de peso por coc??o, pH, quantifica??o superificial de coliformes totais e termotolerantes, assim como os teores de prote?na, gordura, massa seca e res?duo mineral fixo. N?o foram verificadas diferen?as (P>0,05) para a for?a de cisalhamento, perda de peso por coc??o, pH, par?metros microbiol?gicos e bromatol?gicos, com o decorrer dos 28 dias de matura??o, para ambas as t?cnicas. Na carne maturada ? v?cuo foram observados (P<0,05) aumento no croma e diminui??o na capacidade de reten??o de ?gua. A carne maturada a v?cuo apresentou os maiores rendimentos totais (P<0,05) comparada com a carne maturada a seco. A carne maturada ? seco apresentou maior capacidade de reten??o de ?gua e menor perda de peso por coc??o, em compara??o a carne maturada a v?cuo. A matura??o a seco por 21 dias proporcinou estabilidade da cor sem altera??es nos par?metros f?sico-qu?micos e redu??o na for?a de cisalhamento da carne proveniente do m?sculo semispinalis thoracis. A matura??o a v?cuo por 28 dias proporcionou redu??o da for?a de cisalhamento da carne proveniente do m?sculo semispinalis thoracis. / Disserta??o (Mestrado) ? Programa de P?s-Gradua??o em Zootecnia, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2017. / The objective of this study was to evaluate the effects of vacuum (wet-ageing) and dry-ageing techniques on the quality characteristics of bovine meat from the semispinales thoracis muscle of Nellore animals. 40 cuts were processed, with weight after trim of approximately 2000g. These cuts were matured by the two maturation techniques (packed in polyethylene for vacuum technique and without packaging for dry technique) in a commercial standard cold chamber, with a mean temperature of 3?C and a relative humidity of 69% for 5 times , namely: 0, 7, 14, 21 and 28 days. The sections matured by the dry-ageing technique were tacked daily and sprayed with a 2% (v / v) solution of acetic acid. The vacuum technique cuts were sprayed with the same solution and immediately vacuum packed. At each maturation time, yields, shear force, color (L a* b* C and H ?), water retention capacity, weight loss by cooking, pH, superificial quantification of total and thermotolerant coliforms, the levels of protein, fat, dry matter and fixed mineral residue were evaluated. No differences (P> 0.05) were observed for the shear force, weight loss per cooking, pH, microbiological and bromatological parameters, during the 28 days of maturation, for both techniques. In the vacuum packed meat (P <0.05), chroma increase and decrease in water retention capacity were observed. The vacuum packed meat had the highest total yields (P <0.05) compared to dry-aged meat. Dry-aged meat had a higher water retention capacity and less weight loss per cooking compared to vacuum packed meat. Dry maturation for 21 days provided color stability without changes in the physical-chemical parameters and reduction in the shear force of the meat from the semispinalis thoracis muscle. The 28-day vacuum maturation provided a reduction in the shear force of meat from the semispinalis thoracis muscle.