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abstract: Among the many paradigm shifts brought about in the seventeenth century was an increased dissociation between the subject and time as a lived, shared experience. Clockwork Subjects in the Seventeenth Century: Shakespeare, Herbert, and Milton investigates how changes in the social understanding and experience of time, concurrent with changes in timekeeping technologies, were reflected in the literature of the period. This dissertation is closely concerned with the phenomenon of time from the perspective of the subject and the various ways subjects represent themselves as beings in time. Chapter One provides a theoretical introduction, establishing a Heideggerian framework of temporality and ontology, while emphasizing the characteristics of clock-time as time that is movable and separable from what Heidegger would term “originary time.” Chapter Two analyzes metaphors of hearing in Richard II in relation to the play’s pivotal conceit, in which a dethroned Richard compares himself to broken clockwork; exploring temporality in tandem with the phenomenon of hearing, I argue that aural captivation distorts Richard’s perception of his placement in a larger historical framework. Chapter Three employs a reading of Augustinian time George Herbert’s poems, “Even-song” and “Church-monuments,” analyzing the soul’s experience of time in contrast to temporal metaphors that ask, with Augustine, whether time can be measured by and within the self. Chapter Four, analyzing Milton’s Samson Agonistes, explores Samson’s attempt to act and interpret divine intent while in the middle of history, paralleling early modern efforts to construct an interpretive framework for nature and time. / Dissertation/Thesis / Doctoral Dissertation English 2018

Denna kandidatuppsats avhandlar tre stycken analyser av tre stycken filmscener från filmerna A Clockwork Orange, Reservoir Dogs och Watchmen, tre stycken exempel på scener där så kallad anempathetic music används. Denna form av musik kan beskrivas som att den distanserar sig från vad som händer i den rörliga bilden genom att förmedla den motsatta känslan, till exempel om musiken är glad och lättsam medan en våldtäkt sker i bild. Denna uppsats analyserar i dessa tre analysexempel vad sådan filmmusik kan bidra med för berättarfunktioner och meningspotential i filmexemplens narrativ. Resultaten från analysen visade på att musiken i de tre valda analysexemplen bidrar till ökad reflektion hos publiken och hur detta möjliggör för att anempathetic music kan ses som empathetic mot publiken och deras tolkning av filmscenernas narrativ.

This essay aims at analysing and understanding different choices made by Caj Lundgren when he translated Anthony Burgess’s novel A Clockwork Orange (1962), more specifically when he translated the fictive language called Nadsat, which is one of the features that made this novel famous. The method used to analyse Lundgren’s translation is based on Reiß and Veermer’s (1984/2014) concept of skopos and functional equivalence. Conclusions drawn are that Lundgren uses a compensatory translation strategy, and that a model can be created for identification of Russian words in the original text’s Nadsat and the transfer of these words to the target text as Swedish Nadsat. In a comparison between Lundgren and two Russian translators’ strategies, their strategies are shown to differ, which could be caused by different translation problems dependent on the target languages. / Denna uppsats mål är att analysera olika val som Caj Lundgren gjorde i sin översättning av Anthony Burgess roman A Clockwork Orange (1962), specifikt avseende originalets fiktiva språk, som Burgess döpte till nadsat. Metoden som använts för analysen baseras på Reiß och Veermers (1984/2014) term skopos och funktionell ekvivalens. Slutsatser som dras är dels att Lundgren använder sig av en kompensatorisk strategi vid översättning, dels att ett schema kan uppställas för identifiering av ryska ord i originalets nadsat och deras överföring till måltexten som svensk nadsat. I en jämförelse mellan Lundgrens och två ryska översättares strategier visas att deras strategier skiljer sig åt, vilket kan bero på översättningsproblematik avhängig målspråken.

S’interroger sur le décor de cinéma parait ouvrir un champ de recherche illimité, surtout lorsqu’il s’agit de la création cinématographique de Stanley Kubrick. Indéniablement le décor nous transmet l'état émotif des personnages, illustre l’ambiance des séquences et est même source de jouissance esthétique. Le décor de cinéma chez Kubrick apparaît alors comme un élément prépondérant de son langage cinématographique. Certains décors de ses films font même partie de notre mémoire cinématographique collective. Parmi ses treize longs métrages, cette recherche analyse plus précisément le décor dans A Clockwork Orange / Orange mécanique  (1971), décor aussi polémique que le film lui-même. Avec une approche pluridisciplinaire : cinématographique, esthétique, sémiologique, sociologique, historique, cette recherche montre le caractère symbolique et esthétique du décor qui est lié à son aspect iconique, plastique et à son rapport à l’élément sonore du film. L’objet principal est de faire comprendre le « sens » du décor et la façon de le construire au sein du film. L’étude du décor chez Kubrick permet de connaître ses sources d’inspiration et son goût pour l’architecture, le design et les Arts. De surcroît, cette recherche atteste son caractère perfectionniste grâce auquel il est considéré comme l’un des plus grands cinéastes visionnaires de l’histoire du cinéma. / Questions on film sets always seem to open up new fields of research, especially when the film is by Stanley Kubrick. Certainly, his scenic design conveys the emotional state of the characters illustrates the atmosphere of the sequences and even arouses our aesthetic pleasure. Kubrick’s film sets are a dominating element for his film language. Many of them are a part of our collective film memory. Among his thirteen films, this research focuses on the scenic design in A Clockwork Orange / Orange mécanique ( 1971 ) which caused as much debate as the movie itself. Thank to a multidisciplinary approach: cinematography, aesthetics, semiology, sociology, and history of art, this research shows the significance and artistic value of the film sets which are linked to its iconic and plastic aspects and to its relationship with sound. The main objective is to clarify the "meaning" of the film sets and the way they are conceived within the movie. The study of the Kubrick’s film sets allows us to know his artistic tastes, his sources, classical and contemporary, of architecture, design and Arts. Furthermore, this research gives evidence of his perfectionist character, thanks to which he is considered as one of the greatest visionary filmmakers of cinema’s history.

The statement by the Director of the Australian Institute of Family Studies - that Australia needs a Family Policy in order to make Australians more aware of the crucial role of the family in the development of human competence - provides the benchmark for this study, A content analysis of Australian and overseas family policy documents reveals that present approaches are ad hoc and fragmented - although there is a definite move towards a developmental and integrated approach. In this study it is argued that family policy has a valid role in providing the context of education throughout the life cycle of individuals, simply because, together with education (in its widest sense of human development) it provides the construction of social reality for members of Australian society. Three metaphorical models of reality promoted by different education approaches are delineated: (i) The Clockwork world of the megamachine and the image of education as a means of production, (ii) the Secular Humanistic world of dichotomies and the image of education as a means of intellectual growth, and (iii) The World of Interrelationships and Wholeness and the image of education as a life long journey A review of the literature on the relationship between family and education reveals an historial development from separation, through collaboration to integration of these two important influences in human development. The central issue identified for policy is that of the twin horns of a dilemma. Either the terms of policy are so strictly defined that it becomes a self-limiting selffulfiling prophecy, or there is no basis at all for constructive discussion because of the present mass of unorganised detailed material. A way out of this dilemma is proposed with the design of an integrated perspective on the family for use by policy makers, educators and families themselves. Six interrelated models of the family (Cultural, Functional, Survival, Developmental, Legal and Structural) are defined and their links to the dynamics of an actual family are described. The implications of this new conceptual tool are briefly discussed and it is argued that any approach in policy or practice that ignores the mutlifaceted dimensions of this integrated perspective on the family is incomplete. Attached to this Field Study are: (A) A content analysis of twenty years of family policy with an emphasis on Australian material; (5) A comprehensive bibliography cf Australian and overseas material. Each of these attachments could act as source documents in themselves for further research in this area.

[ES] El género de copépodos Tigriopus Norman, 1869 se distribuye en todo el mundo en piscinas costeras de rocas y actualmente se considera que incluye 15 especies válidas. Tigriopus fulvus (Fischer, 1860), con su subespecie Tigriopus fulvus adriaticus Van Douwe 1913 y Tigriopus fulvus algiricus Monard 1935, actualmente se informa que ocurren en el área mediterránea, pero actualmente se desconoce la diversidad real del género. Nuestro objetivo fue evaluar la identidad real de las poblaciones mediterráneas de Tigriopus y dilucidar su taxonomía y patrón de diversidad genética. Para alcanzar estos objetivos, utilizamos dos enfoques diferentes. El primero, basado en la morfología, donde las posibles diferencias morfológicas entre muestras topotípicas de Tigriopus fulvus s.s. y muestras topotípicas de las dos subespecies fueron investigadas. Un segundo, sobre una base molecular, donde se secuenciaron fragmentos de dos genes de ADN mitocondrial (subunidad I de citocromo c oxidasa, COI y subunidad de ARN ribosómico pequeño, 12S) y un gen de ADN nuclear (28S) para ser usados como marcador de referencia. En este marco, se utilizaron enfoques taxonómicos moleculares, como el descubrimiento automático de brechas de código de barras (ABGD), bPTP (procesos de árbol de Poisson bayesianos) y la relación K / ¿, para investigar la existencia de las supuestas subespecies de Tigriopus a través de la identificación de Operacional Unidades Taxonómicas (OTU). Nuestros datos sugieren la presencia de una sola especie caracterizada por una notable estructura genética basada en la geografía en toda el área de estudio. El patrón de diversidad observado se atribuye tentativamente aquí a una fuerte monopolización de los estanques de rocas por parte de los primeros inmigrantes que los alcanzan. Sin embargo, tal monopolización se ve interrumpida periódicamente por los eventos de extinción locales, que son frecuentes en los hábitats intrínsecamente inestables de las piscinas de rocas Aquí proponemos para este patrón el nombre de "monopolización periódica" ("Clockwork monopolization"). / [CA] El género de copépodos Tigriopus Norman, 1869 se distribuix en tot el mon en piscines costeres de roques i actualment se considera que inclou 15 especies valides. Tigriopus fulvus (Fischer, 1860), en la seua subespecie Tigriopus fulvus adriaticus Van Douwe 1913 i Tigriopus fulvus algiricus Monard 1935, actualment s'informa que ocorren en l'area mediterranea, pero actualment se desconeix la diversitat real del género. Nostre objectiu fon evaluar l'identitat real de les poblacions mediterranees de Tigriopus i dilucidar la seua taxonomia i patrón de diversitat genetica. Per a alcançar estos objectius, utilisem dos enfocaments diferents. El primer, basat en la morfologia, a on les possibles diferencies morfologiques entre mostres topotípicas de Tigriopus fulvus s.s. i mostres topotípicas dels dos subespecies foren investigades. Un segon, sobre una base molecular, a on se secuenciaron fragments de dos gens d'adn mitocondrial (subunidad i de citocromo c oxidasa, coi i subunidad d'arn ribosómico menut, 12s) i un gen d'adn nuclear (28s) per a ser amprats com marcador de referencia. En este marc, s'utilisaren enfocaments taxonomics moleculars, com el descobriment automatic de breches de codic de barres (ABGD), bPTP (processos d'arbre de poisson bayesianos) i la relacio K/¿, per a investigar l'existencia de les supostes subespecies de Tigriopus a través de l'identificacio d'operacional unitats taxonomiques (OTU). Nostres senyes sugerixen la presencia d'una sola especie caracterisada per una notable estructura genetica basada en la geografia en tota l'area d'estudi. El patrón de diversitat observat s'atribuix tentativament aci a una forta monopolisacio dels safarejos de roques per part dels primers immigrants que els alcancen. No obstant, tal monopolisacio se veu interrompuda periodicament pels events d'extincio locals, que son freqüents en els hábitats intrinsecament inestables de les piscines de roques aci proponem per a este patrón el nom de "Monopolisacio Periodica" ("Clockwork Monopolization"). / [EN] The copepod genus Tigriopus Norman, 1869 is distributed worldwide in coastal rock-pools and it is currently considered to include 15 valid species. Tigriopus fulvus (Fischer, 1860), with its subspecies Tigriopus fulvus adriaticus Van Douwe, 1913 and Tigriopus fulvus algiricus Monard, 1935, are currently reported to occur in the Mediterranean area, but the actual diversity of the genus is currently unknown. We aimed to assess the actual identity of Mediterranean Tigriopus populations and to elucidate their taxonomy and pattern of genetic diversity. In order to reach these goals, we use two different approaches. The first, based on morphology, where the possible morphological differences among topotypical samples of Tigriopus fulvus s.s. and topotypical samples of the two subspecies were investigated. A second, on a molecular basis, where fragments of two mitochondrial DNA genes (cytochrome c oxidase subunit I, COI and small ribosomal RNA subunit, 12S) and a nuclear DNA gene (28S) were sequenced to be used as a reference marker. In this frame, molecular taxonomical approaches, such as Automatic Barcode Gap Discovery (ABGD), bPTP (bayesian Poisson Tree Processes) and K/¿ ratio, were used in order to investigate the existences of the alleged subspecies of Tigriopus through the identification of Operational Taxonomic Units (OTUs). Our data suggest the presence of a single species characterized by a noteworthy geographically-based genetic structure in the whole study area. The observed diversity pattern is tentatively ascribed here to a strong monopolization of the rock pools by the first immigrants that reach them. However, such a monopolization is periodically disrupted by local extinction events, which are frequent in the intrinsically unstable rock pool habitats. We propose the name "clockwork monopolization" for this pattern. / Vecchioni, L. (2020). Systematics and phylogeography of the genus Tigriopus (Copepoda, Harpacticoida, Harpacticidae) in the basin of the Mediterranean Sea [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/144122 / TESIS