Thesis (Ph. D.)--Miami University, Dept. of English, 2003. / Title from second page of PDF document. Includes bibliographical references (p. 212-224).

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Máquinas de Imagens é uma reflexão sobre a relação entre o processo artístico e as memórias de infância. A pesquisa propõe perceber a memória pessoal a partir de seu caráter editável e entender a montagem/edição enquanto agente temporalizador e estrutura de todo processo de criação artística. O trabalho discute uma reinvenção de memórias pessoais, dobras entre ficção e realidade, com a intenção de criar novas narrativas. Trata-se de uma investigação da narrativa de cada momento e da intimidade como elemento poético. A abordagem das questões presentes se dá através de uma montagem de fontes interdisciplinares, uma colagem de pensamentos de alguns teóricos, escritores, cineastas, poetas e filósofos e análises das práticas de alguns artistas contemporâneos e do processo da própria artista. / Image Machine is a reflection on the relationship between artistic process and childhood memories. The purpose of this research is to realize the personal memory from its editable character and to understand the montage/editing while an agent creator of a time perception and structure of the whole process of artistic creation. The paper discusses a reinvention of personal memories, bends between fiction and reality, with the intention of creating new narratives. It is a research on the narrative of each moment time and the intimacy as a poetic element. The approach to these issues is through a montage of interdisciplinary sources, a collage of some theoretical thoughts, writers, filmmakers, poets and philosophers and analysis of the practices of some contemporary artists and the artist/author's own process.

La guerre est une expérience qui, de par sa commotion, confine à l’inénarrable. Elle oblige les écrivains à redéfinir le rapport qu’ils entretiennent avec la langue qu’ils pratiquent quand elle ne les métamorphose pas eux-mêmes. C’est dans ce sens qu’il convient d’appréhender l’éventail de transgressions à l’œuvre dans le récit de guerre qui, au travers des dérèglements formels et des déformations langagières qui concourent à son élaboration, inaugure une écriture qui échappe aux définitions et aux catégorisations. Au lieu de rendre compte de la catastrophe, l’imaginaire littéraire la constitue en un objet extérieur, cherchant dans l’esthétisation paradoxale d’une expérience a priori ineffable un moyen de contourner l’impuissance du langage à exprimer l’indicible. Néanmoins, il creuse par ce biais l’écart avec la réalité référentielle. Autant dire que la guerre introduit une fracture entre le sujet et le monde, un fossé qui doit être surmonté pour que puisse à nouveau se tenir un discours cohérent. / The war is an experience that, by its commotion, condemned to unspeakable. It forces writers to define the relationship they have with the language they practices when it does not metamorphose themselves. It is this sense that need dealing with the range of transgressions at work in the war story which, through formal and language disorders distortions that contribute to its development, inaugurates writing that escapes definitions categorizations. Instead of reporting on the disaster, the literary imagination is in an external object, searching the paradoxical experience aestheticisation a priori ineffable a way around the impotence of language to express the inexpressible. Nevertheless, he digs through this gap with referential reality. Suffice to say that the war introduced a divide between the subject and the world, a gap that must be overcome so that can again keep a coherent discourse.

Au Congo Brazzaville s'est développé, depuis les Trois Glorieuses (13, 14 et 15 août 1963), un espace littéraire très créatif. La plupart de ses écrivains, et particulièrement les romanciers, sont (ont été) engagés, à des titres et à des niveaux divers, dans la vie politique effective de leur pays. Une approche sociocritique des romans congolais à partir des microlectures, dans une perspective intertextuelle, fait émerger la politique comme un moule structurateur de la plupart des fictions. L'analyse du contexte du roman congolais à thématique politique en révèle des particularités (1ère partie). Cette contextualisation permet de comprendre pourquoi le référent politique est si envahissant dans la fiction romanesque congolaise. La thématisation de la politique (2ème partie) comme sujet, motif ou topos permet une meilleure appréhension des univers imaginaires. La représentation des indépendances, des révolutions et de la vie sociale éclaire les complexes rapports entre le scribe et le prince. Les personnages des fictions se positionnent par rapport aux pouvoirs institués comme des révoltés, des révolutionnaires ou des collaborateurs. En général, ils dénoncent le vécu quotidien dans la dissidence et le refus du statu quo. Toute une rhétorique du politique ressort du traitement que les auteurs font de ce dernier (3èmepartie), et met en évidence une politique de l'écriture, à savoir des stratégies d'expression des univers politiques. Sont ainsi utilisés: le masquage par l'anthroponymie et la toponymie, le surgissement d'univers étranges (magique, merveilleux, carnavalesque, onirique, etc.) dans la trame narrative, ainsi que le recours à un langage crypté. Les postures pour dire le politique varient selon les écrivains. Qu'ils participent au pouvoir ou non, et du fait de leurs appartenance à la phratrie, tous se retrouvent en Congolie, contrée imaginaire libérée, et déclarent leurs « rêves du changement », ou leur aspirations à un mieux vivre ensemble, rendu de façon originale par Henri Djombo dans Lumières des temps perdus. Les fictions s'interrogent sur le politique, mais aussi et surtout sur l'acte d'écrire et sa finalité. Les textes posent ainsi une large problématique : la rencontre des champs politique et littéraire, la difficulté de l'écrivain à dire la politique en pays de dictature, ou le statut des valeurs. / In Congo Brazzaville, beginning from the Three Glorious 13th, 14th and 15th August 1963, there developed a very creative literary space. Most of its writers, especially as concerns the novelists, are (have been) committed, by titles and diverse levels, to the political life of their country. From a socio-critical perspective of Congolese novels using micro-lectures, from an intertextual perspective, brings out politics as a structuring mould for most fiction. An analysis of the context of the Congolese novel, with politics as a thematic concern reveals a number of particularities (Part 1). Putting things to context in this manner allows for understanding why the political referent permeates romanistic Congolese fiction. Thematizing politics (Part 2), as subject, motive or topos allows for a better understanding of imaginary universes. The representation of independences, of revolutions and of social life brings light to the complex relationships between the scribe and the prince. Characters in fictions position themselves in revolt to institutionalized powers, as revolutionaries or as collaborators. Generally, they denounce the day to day experience in dissidence and reject the status quo. An entire political rhetoric springs forth from the treatment which the authors give to the latter (Part 3) and establishes a writing policy, namely, strategies of political expression. Here employed are: masking by anthroponomy and toponymy, the cropping up of strange universes, (magic, the sublime, carnival, imaginary, etc) in the plot as well as making use of crypt language. Postures of political expression differ with writers. Whether they participate in power or not, and from the fact of their belonging to the phratry, all find themselves in Congolie, the imaginary liberated territory and declare their « Dream for Change » or their aspirations to a better communal life, rendered in an original manner by Henri Djombo in Lumières des temps perdus. The fictions dwell on politics, but also, and especially on the act of writing and its finality. In this wise, the texts pose a large statement of the problem: the meeting of political and literary spheres, the difficulty of the writer to express political issues in a dictator nation or the statutes of values.

This short story collection consists of twenty short fictions and a novella. A preface precedes the collection addressing issues of craft, pedagogy, and the post Program Era literary landscape, with particular attention paid to the need for empathy as an active guiding principle in the writing of fiction.

Virtual influencers (VIs), computer-generated characters, can act as a medium to influence followers on social media platforms. This is a relatively novel phenomenon, with popular VIs having over six million followers. This study investigates VIs from the perspective of human-computer interaction. Nine participants from four countries were interviewed about their interactions with a variety of fictional VIs in different settings. The study uncovers new user perceptions and attitudes towards VIs, including pessimism towards VIs, loss of trust and likeability towards virtual characters, and the perception of VIs as being run by artificial intelligence (AI). It was found that content relating to fitness, personal tips, and social activism demands more transparency about the authority and agency of the VI from the users. Finally, this study discusses the ethical implications of VIs, highlights an avenue of research in the AI domain, and makes suggestions for human-computer interaction (HCI) practitioners curating social media experiences. / Virtuella influencers (VI), datorgenererade karaktärer, kan fungera som ett medium för att påverka följare på sociala medieplattformar. Detta är ett relativt nytt fenomen, där populära VI har över sex miljoner följare. Denna studie undersöker fenomenet VI ur människa-datorinteraktions perspektiv. Nio deltagare från fyra länder intervjuades om deras interaktioner med olika fiktiva VI i olika miljöer. Studien visar på nya uppfattningar och attityder från användare gentemot VI, inklusive pessimism gentemot VI, förlust av förtroende och gillande gentemot virtuella karaktärer, samt uppfattningen om att VI drivs av artificiell intelligens (AI). Det visade sig att användarna kräver att innehåll relaterat till träning, personliga tips och social aktivism kräver mer öppenhet om VI:s befogenhet och agenda. Slutligen diskuterar denna studie de etiska konsekvenserna av VI, belyser ett forskningsområde inom AI och ger förslag till utövare inom människa-datorinteraktion (HCI) som kuraterar sociala medieupplevelser

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Made available in DSpace on 2016-04-26T20:25:15Z (GMT). No. of bitstreams: 1 Angela Maria da Motta Pacheco.pdf: 3255297 bytes, checksum: ff2db84a0ab7d56308680d4f204c23b5 (MD5) Previous issue date: 2006-12-08 / The objective of this work is to address Legal Fictions in the Tax Law Sub-domain, revealing the phenomenon, the true purpose for which it came and the possibility or not of its co-existence with other general and abstract legal rules creators of taxes. The topic discusses Liberty, as a presumption of Law, basis of responsibility, two sides of the same coin, justified by Law as an Order of Restraint and Coercion. In the construction of the Rule of Law liberty refers to the authority of the Powers and of their agencies, as part of liberty. The topic discusses Truth, the Truth of Statutory Law, the fabric consisting of prescriptive language placed, here and now, incorporated by the Fundamental Law, the Constitution, structural laws and statutory laws, in a hierarchical process and of coordination. The construction method of Law is essential for the elucidation of the topic always considering the need of the Law being close and revealing the human condition at the risk, in failing to do so, of becoming incompetent and discredited. It is necessary to make an analysis of the characteristics of the Brazilian Constitution, informed expressly by constitutive values of the norms of principle, and specifically of the Tax System embodied therein, which adopted the principle of free enterprise and individual and social rights. We consider the Law Theory, specifically the Principal Law on Tax Assessment in its constitutive criteria and those specific ones already used as constitutional requisites for the sharing of taxing authority among the federative entities. It is in the scenario of the constitutional tax system that the images of the characters will be projected: the valid principal law on tax assessment, and the legal tax fiction law, in order to determine its validity or invalidity, its pertinence or not to the plot of the play, in light of the informer principles of the system, specifically those of typicity and taxpayer capacity, the expression of the principle of equality. It will be seen, also, that the purpose of legal tax fictions in no way resembles the purpose of legal tax presumptions, legal reasoning, referred to proof in the tax matter / Tem o presente trabalho, por objetivo, tratar das Ficções Jurídicas no Subdomínio do Direito Tributário, revelando o fenômeno, a verdadeira finalidade a que veio e a possibilidade ou não de sua convivência com as demais normas jurídicas gerais e abstratas criadoras de tributos. O tema diz respeito à Liberdade, como suposto do Direito, fundamento da responsabilidade, faces da mesma moeda, a justificar o Direito como Ordem de Coerção e Coação. Na construção do Estado de Direito a liberdade refere-se à competência dos Poderes e de seus órgãos, como parcelas de liberdade. O tema diz respeito à Verdade e, à Verdade do Direito Positivo, o tecido consistente de linguagem prescritiva posta, aqui e agora, integrado pela Norma Fundante, a Constituição, normas de estrutura e normas ordinárias, em processo hierárquico e de coordenação. A forma de construção do Direito é fundamental para o deslinde do tema sempre considerando a necessidade de o Direito estar próximo e revelar a condição humana sob risco de, não o fazendo, tornar-se incompetente e desautorizado . Necessária se faz uma análise do tipo da Constituição Brasileira, informada expressamente por valores constitutivos das normas princípio, especificamente do Sistema Tributário nela inserido, que adotou o princípio da livre iniciativa e os direitos individuais e sociais. Consideramos a Teoria da Norma Jurídica, especificamente a Norma Matriz de Incidência Tributária em seus critérios constitutivos e daqueles específicos já utilizados como pressupostos constitucionais na repartição de competência tributária entre entes federativos. Será no cenário do sistema constitucional tributário que se projetarão as imagens das personagens: norma matriz de incidência tributária, válida, e a norma de ficção jurídica tributária, a fim de se aferir sua validez ou invalidez, sua pertinência ou não ao enredo da peça, diante dos princípios informadores do sistema, especificamente o da tipicidade e da capacidade contributiva, expressão do princípio da igualdade. Ver-se-á, também, que a finalidade das ficções jurídicas tributárias em nada se assemelha à finalidade das presunções jurídicas tributárias, raciocínios legais, referidos à prova em matéria tributária

《施公案》、《三俠五義》、《彭公案》是三部以公案與俠義題材融合而成的同類型小說，它們保留了公案小說與俠義小說既有的元素，題材融合的原因是時代背景的反映、章回化的演變、理想人物的期待與讀者的欣賞需求。 小說原著以公案為主、俠義為輔。在公案情節上，大多數是延續公案小說的 人命案與賊盜案，以數案相連或案中有案的形式呈現；由於俠義題材的加入，謀叛的政治案件、盜印信、盜內府財物、謀殺朝廷命官與採花大盜犯姦殺人案件逐漸增多。綠林與清官的結合，是俠義情節的中心，主要表現在豪傑投靠、豪傑護主、豪傑破案三方面。小說中官吏，清官特徵漸少，忠臣形象漸多；綠林人物無論是水寇、土匪、紳匪均呈現集團化特性；官俠性格趨向「忠義」，認同當代法律秩序；游俠強調隨機應變、譎詐多端，「從遊戲中生出俠義來」的俠義特徵。小說語言除了訟詞、判詞的沿用，因俠義題材的加入，江湖隱語的使用，加添了小說綠林犯罪情節的真實感。小說原著主題思想除了表現出清官意識、俠義思想，更強調勸善懲惡的傳統思維。小說內容思想表現出非主流社會義的道德觀、任官朝廷的價值觀、建立聲譽的價值觀、追逐眼前利益的價值觀。也反映出當代紳衿階層與皇糧莊頭危害百姓的社會現象以及政治衝突事件。 小說續書呈現俠義興起，公案隱退的局面。《施公案》、《三俠五義》、《彭公案》三部小說續作的目的，主要有商業、政治、心理三類因素。情節著重在破獲政治叛亂案件、異姓結義、破奇樓奇陣、打擂臺與黑店犯罪，並加入特殊武功、武器、暗器的描寫。小說人物強調英雄與超人的塑造，並製造出魔怪邪惡人物與奇特的綠林女子。江湖隱語繼續沿用，訟詞、判詞僅存於《施公案》中。小說內容由於俠義漸多，官俠重名爭功、嚮往武將官職，綠林犯法露名的觀念成為表現的重點。 《施公案》、《三俠五義》、《彭公案》三部小說中公案隱退，但未絕跡；俠義抬頭，綠林的集團運作，與統治階級聯合打擊綠林同道的小說傳承，由姚民哀的「會黨小說」接班。「會黨小說」小說產生於清末民初綠林的蓬勃、新小說後期的通俗化、武俠與偵探小說獨立的時代，姚民哀以彈評藝人身份，運用評書技巧，從事會黨小說的創作。情節內容以揭露江湖秘聞與會黨秘密為主，小說人物著重描寫習武者與幫會人物，小說語言大量使用江湖隱語與幫會切口，小說內容主要反映出下層社會爭面子的價值觀，與軍閥時期兵匪不分家的社會現象。 / Shi Gong-An, San Xia Wu Yi and Peng Gong-An are three similar types of fictions plotted with a fusion of ‘Gong-An’ and chivalry which retain the existing elements of ‘Gong-An’ fictions and chivalry fictions. The fusion of plots is the results from the reflection of time, the transition of contextualization, the expectations for ideal characters and the readers’ need. The originality of the fictions is primarily based on ‘Gong-An’ aided with chivalrous tales. The ‘Gong-An’ plot is mainly a continuation of ‘Gong-An’ fictions’ homicides and thefts presented by means of serial cases or cases within cases. With the addition of chivalrous plots, there are more and more cases of political rebellions, theft of official seals or government property, murder of imperial court officials and raping. The union of bandits and incorruptible officials, presented in the forms of heroes’ defections, protection of masters and breaking of cases, is the center of chivalrous plots. Features of these fictions include that there are more royal court officials than incorruptible officials; that bandits, whether pirates, brigands or evil gentry, demonstrate syndicate characteristics; that knight-errant-turned-court-officials, tending to be loyal, identify themselves with law and and order of that time; that knight-errants, borne ‘chivalry out of wandering in life’, characterize themselves with improvisation and treachery. The diction of these fictions, in addition to using litigators’ phrases, jargons of the underworld and chivalrous plots boosts the virtual reality of fictional crime scenes. Except for demonstrating the incorruptibility of the officials chivalrous ideas, the main themes of these fictions also stresses the traditional ‘do no evil’ teaching. The contents of these fictions reveal not only values of a non-mainstream social moral judgment, of being imperial court officials, of building of good names and of pursuing immediate profits but political clashes and social incidents of common people being intimidated by gentry and imperial agents. The sequels of Shi Gong-An, San Xia Wu Yi and Peng Gong-An, showing the rise of chivalry and the fall of ‘Gong-An’, are created for commercial, political and psychological reasons. The plots emphasize heavily on breaking political rebellions, unifying of brethren for justice, cracking booby trapped buildings, winning the fights and striking clip joint with the description of special martial arts, tactics and weaponry. The characters contain not just super heroes and unique females of the underworld, monsters and evil figures are also introduced. The jargons of the underworld continue to be used. However, the litigators’ phrases are only used in Shi Gong-An. More plots features chivalry, knight-errant-turned-court-officials craving for promotion in the military, the underworld’s attempt to challenge the law to be known. ‘Gong-An’ in Shi Gong-An, San Xia Wu Yi and Peng Gong-An gradually diminishes but is never extinct. ‘Syndicate fiction’, created by Yao Ming-ai, who, as a minstrel, using his skills of reviewing books, engages himself in writing that contains a tradition of the rise of chivalry, the functioning of the underworld and the joint operation with ruling class to nail down fellow gang members of the underworld. Syndicate fiction focuses its plots on discovering the secrets of the underworld and the syndicate with an emphasis on illustrating martial arts students and syndicate principals, using numbers of underworld jargons as dialogues, reflecting the underworld’s keen face-saving sense of value and the social phenomena in the warlord period when soldiers and bandits are sometimes hard to differentiate.