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Recent evidence has shown that children with autism may behave more pro-socially when interacting with a robot than with a human. The objective of this research is to develop a robotic system for use in the clinical treatment of children with autism. The governing assumption behind this thesis is that using a robot in a clinic, under the guidance of a trained therapist, may lead to therapeutic benefits that may not be achieved without the presence of the robot. The robot Troy was developed to fulfill such a role in a clinical setting. The primary objective was to design a robot that would be engaging to the children. Secondary objectives included making it versatile, easy to use, and affordable enough for wide-spread use. To facilitate engaging activities for the children, the robot needed to be able to express facial emotions as well as have arms that can move similar to humans. The resulting design is an upper-body humanoid robot with two four-degree-of-freedom arms and a two-degree-of-freedom neck. The face is generated by a small computer monitor mounted on the neck. Troy is connected to a user interface so that its actions can be sequenced and controlled by a clinician during a therapy session. Although the long-term clinical benefits of using robots like Troy must ultimately be determined by experienced therapists, preliminary clinical trials suggest that Troy is an engaging tool that helps the children become more interactive during therapy sessions. Therapists note that children are intrigued by Troy, and while Troy is present the children have been observed to interact more with the therapists in the room. This gives us further hope that robot-assisted autism therapy will help these children generalize what they learn in the clinic to other aspects of their life.

Nearly all of the histories of Shays's Rebellion point to debt as the reason why farmers in western Massachusetts rose against the courts and the state government in the fall and winter of 1786-87. Recent scholarship demonstrates a new line of reasoning based on the tax records of those involved. The following thesis, a screenplay, offers a fictional telling of this insurgency. The story is told using language pulled from contemporary letters and documents and follows a line of causation pointing to inequitable state tax structure and poor representation as the provocation. The response that ensued was not a rebellion -- it was a Regulation.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Francis W. Dawson, pragmatic editor of the influential Charleston News and Courier, and Daniel H. Chamberlain, last Reconstruction governor of South Carolina, developed a close working relationship during the years 1874 through 1876. The two Southern emigres had opposing political affiliations. Dawson, a Democrat, bitterly fought both the nomination and election of Republican Chamberlain in 1874. The editor's evaluation of the Republican voting strength in the state nonetheless led him to support a bolting group of Independent Republicans in the 1874 campaign. However, Chamberlain's attempts to secure orderly, peaceful reform soon won the praise and ultimately the complete support of Dawson and the powerful Charleston business community. The remarkable alliance grew and took sustenance from cooperation and compromise. Predictably, both Republican and Democratic partisans sought to topple the two leaders of the cooperation movement. As the election of 1876 approached, Republican malcontents, fired by dissatisfaction with the Governor's reform and economy measures, attempted to discredit Chamberlain. Democratic dissidents denounced Dawson's strategy and called for a “Straightout” Democratic effort in the upcoming elections. Their cause drew strength from the unhappy economic situation and from the recent example of Mississippi's "redemption." In July, 1876, the emotional rebellion against Dawson's program of cooperation climaxed at the village of Hamburg when several Negro militia men were murdered. Despite the editor's ardent championship of Chamberlain and his fervent pleas for the preservation of the alliance, Dawson's plans were swept away. The Democrats, staunchly supported by the realistic editor, went on to a "Straightout" victory with Wade Hampton. The end of the flirtation marked the beginning of South Carolina's membership in the "Solid South" of the Democracy. / Master of Arts

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Ce mémoire s'intéresse aux enjeux de lecture suscités par le brouillage des frontières de la fiction. Si les effets déstabilisants d'un tel cadre de lecture sont attestés, notre étude vise à comprendre comment le gommage des frontières permet également de penser d'autres rapports entre le monde réel et la fiction (de promiscuité, d'apprentissage, d'éblouissement) que celui d'une dualité. En convoquant les travaux de Françoise Lavocat, de Richard Saint-Gelais et de Marie-Laure Ryan parmi d'autres, nous proposons une lecture du livre Wigrum de Daniel Canty, lequel pose et réfléchit ces questions à même le texte. Le recours à une approche au confluent du brouillage des frontières, du rapport médié avec le réel et de la notion de vérité permettra de voir que la fiction dans Wigrum n'est pas exclue de la réalité et détient, par le truchement de l'acte de lecture, une portée cognitive réelle.

This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

Em O monstro leonino que surge do mar, estuda-se a simbologia contida em Dn 7:1 a 4. Nesse capítulo, narra-se uma visão onírica em que quatro feras monstruosas emergem de um mar agitado pelos quatro ventos do céu. A primeira a surgir é semelhante a um leão com asas de águia, as quais lhe são arrancadas, e o animal é posto em pé e recebe um coração humano. Impregnada de simbolismo, a visão é seguida de uma interpretação geral dentro do próprio capítulo, mas ainda assim oculta sentidos que convidam à investigação. Este estudo propõe uma close reading desse recorte, em uma abordagem literária e sincrônica, contemplando diversas perspectivas do debate acadêmico atual. A análise se concentra nos principais elementos simbólicos do texto, culminando na aparição da fera leonina. Trata-se de um mergulho na Bíblia Hebraica (BH), bem como na literatura e iconografia do Antigo Oriente Médio (AOM), e no próprio livro de Daniel, com vistas a iluminar o objeto de estudo. Os resultados dessa investigação identificam a relação umbilical entre a visão de Dn 7 e as narrativas dos cap. 1 a 6, em torno da temática da soberania divina. A composição da cena dos quatro ventos e o grande mar (Dn 7:1, 2) aparenta ser polissêmica e alusiva ao preâmbulo de Gn 1:2 ao mesmo tempo em que mantém evidentes conexões com sentidos encontrados nos Profetas. As feras grandes, monstruosas (Dn 7:3), têm evidentes paralelos na BH, como nações destruidoras, em especial, na tradição profética. A fera semelhante a leão com asas de águia se liga à visão de Dn 2 em que o primeiro dos quatro metais da estátua representa Babilônia. Seu hibridismo comunica a combinação de capacidades, com paralelos conceituais nos mischwesen ou seres híbridos do AOM. Sua natureza política e voracidade imperial o conectam ao motivo leonino utilizado largamente na literatura e iconografia do AOM, que servia para reforçar a ideologia real. Nos Profetas, Babilônia é simbolizada pelo leão e pela águia. Por ter asas e emergir do mar em uma limitada alusão aos mitos de combate antigos, com reflexos na BH , termina por denunciar sua natureza antidivina e cosmológica. Essa fera leonina passa por processos incapacitantes da perda de mobilidade e ferocidade, inversamente ao ocorrido com o rei Nabucodonosor em Dn 4, o que prenuncia sua derrocada e ressalta a soberania de YHWH. / The leonine monster that emerges from the sea is a research on the symbology present in Dan 7:1-4. This chapter depicts a dream-vision in which four monstrous beasts come out from a \"great sea\" stirred up by \"the four winds of heaven.\" The first beast to appear is similar to a lion with eagle\'s wings, which are suddenly plucked off, and the animal is lifted up from the ground, stands as a human being, and receives a human heart. This deeply symbolic vision has a general interpretation within Dan 7 itself, but it still conceals meanings that call for an investigation. The present study does a close reading of this selected biblical text, in a literary and synchronic approach, taking into account multiple perspectives in the current scholarly debate. The analysis focuses on the main symbolic elements of the text, culminating with the appearing of the leonine beast. It delves into the Hebrew Bible, as well as the literature and iconography of the Ancient Near East, in connection with the book of Daniel itself, to cast light on the subject under investigation. The results of this research uncover the umbilical relationship between the vision of Dan 7 and the narratives of chapters 1 to 6, around the theme of divine sovereignty. The arrangement of the four winds and the great sea scene (Dan 7:1, 2) seems to be polysemic and allusive to the preamble of Gen 1:2 while maintaining strong connections with the meanings found in the Prophets. The large, monstrous beasts (Dan 7:3) have clear parallels in the Hebrew Bible, especially in the prophetic tradition, as destructive nations. The lion-like beast with eagle\'s wings (Dan 7:4) must be seen in association with the vision of Dan 2 where the first of the four metals of the statue represents Babylon. Its hybridism communicates the combination of abilities, finding conceptual parallels in the mischwesen or hybrid beings of the Ancient Near East. The lion\'s political nature and imperial voracity bridge the biblical use of the leonine motif with the widespread use of this imagery in the literature and iconography of the Ancient Near East, which served to reinforce royal ideology. In the Prophets, Babylon is symbolized by both the lion and the eagle. By having wings and emerging from the sea--a limited allusion to ancient combat myths with reflections in the Hebrew Bible--it denounces the anti-divine and cosmological overtones of such a beast. This leonine monster undergoes incapacitating processes of mobility and ferocity losses, in a reverse process to what happened to king Nebuchadnezzar in Dan 4, which foreshadows the ultimate demise of Babylon plus the other kingdoms and highlights YHWH\'s sovereignty.