The aim of this study is to explore the importance of love in its various manifestations in the lives of the Harry Potter characters and its power to consequently influence the paths that they eventually choose to walk. Love is investigated as the reason behind the choice between good and evil as well as paradoxically both a fortifying as well as a destructive force. Furthermore, it attempts to examine the importance that love plays in the healthy or dysfunctional development of the characters. Numerous philosophies and theories that span two different eras will form the theoretical framework of this research paper. There will be a constant interplay between the theories and the main text, that is, the seven Harry Potter books that together represent the Harry Potter series. Additionally, the author‟s opinion acquired from invaluable fan interviews will be utilized in order to improve the understanding of the characters motivations. The introduction is a brief explanation of key terms and theories that are essential to the exploration of love in the Harry Potter series. The study comprises five chapters. The first three chapters are concerned with the three main manifestations of love represented in the series, namely; parental love, friendship and romance respectively. Chapter Four focuses on the adaptation of the novels into movies and the subsequent result that this has on the depiction of love. Chapter Five highlights the finding of the study conducted. / English Studies / M.A. (English)

This thesis presents a finite element methodology for simulating fluid–solid interactions in the left ventricle (LV) under LVAD support. The developed model was utilised to study the passive and active characteristics of ventricular function in anatomically accurate LV geometries constructed from normal and patient image data. A non–conforming ALE Navier–Stokes/finite–elasticity fluid–solid coupling system formed the core of the numerical scheme, onto which several novel numerical additions were made. These included a fictitious domain (FD) Lagrange multiplier method to capture the interactions between immersed rigid bodies and encasing elastic solids (required for the LVAD cannula), as well as modifications to the Newton–Raphson/line search algorithm (which provided a 2 to 10 fold reduction in simulation time). Additional developments involved methods for extending the model to ventricular simulations. This required the creation of coupling methods, for both fluid and solid problems, to enable the integration of a lumped parameter representation of the systemic and pulmonary circulatory networks; the implementation and tuning of models of passive and active myocardial behaviour; as well as the testing of appropriate element types for coupling non–conforming fluid– solid finite element models under high interface tractions (finding that curvilinear spatial interpolations of the fluid geometry perform best). The behaviour of the resulting numerical scheme was investigated in a series of canonical test problems and found to be convergent and stable. The FD convergence studies also found that discontinuous pressure elements were better at capturing pressure gradients across FD boundaries. The ventricular simulations focused firstly on studying the passive diastolic behaviour of the LV both with and without LVAD support. Substantially different vortical flow features were observed when LVAD outflow was included. Additionally, a study of LVAD cannula lengths, using a particle tracking algorithm to determine recirculation rates of blood within the LV, found that shorter cannulas improved the recirculation of blood from the LV apex. Incorporating myocardial contraction, the model was extended to simulate the full cardiac cycle, converging on a repeating pressure–volume loop over 2 heart beats. Studies on the normal LV geometry found that LVAD implementation restricts the recirculation of early diastolic inflow, and that fluid–solid coupled models introduce greater heterogeneity of myocardial work than was observed in equivalent solid only models. A patient study was undertaken using a myocardial geometry constructed using image data from an LVAD implant recipient. A series of different LVAD flow regimes were tested. It was found that the opening of the aortic valve had a homogenising effect on the spatial variation of work, indicating that the synchronisation of LVAD outflow with the cardiac cycle is more important if the valve remains shut. Additionally, increasing LVAD outflow during systole and decreasing it during diastole led to improved mixing of blood in the ventricular cavity – compared with either the inverse, or holding outflow constant. Validation of these findings has the potential to impact the treatment protocols of LVAD patients.

Since Benoit de Sainte-Maure's creation of the Briseida story, Criseida has evolved as one of the most infamous heroines in European literature, an inconstant femme fatale. This study analyzes four different receptions of the Criseida story with a special emphasis on the antifeminist tradition. An interesting pattern arises from the ways in which four British writers render Criseida: Geoffrey Chaucer's Troilus and Crisevde is a response to the antifeminist tradition of the story (particularly to Giovanni Boccaccio's II Filostrato); Robert Henryson's Testament of Cresseid is a direct response to Chaucer's poem; William Shakespeare's Troilus and Cressida aligns itself with the antifeminist tradition, but in a different way; and John Dryden's Troilus and Cressida or Truth Found Too Late is a straight rewriting of Shakespeare's play. These works themselves form an interesting canon within the whole tradition. All four writers are not only readers of the continually evolving story of Criseida but also critics, writers, and literary historians in the Jaussian sense. They critique their predecessors' works, write what they have conceived from the tradition of the story, and reinterpret the old works in that historical context.

Ce que nous proposons de faire dans ce mémoire est de s’attarder au phénomène spécifique de la lecture des scénarios dans le contexte institutionnel québécois. Nous analyserons un corpus de cent soixante douze rapports de lecture de scénarios de longs métrages de fiction rédigés entre 1972 et 2004. Il n’existe, à notre connaissance, aucune étude portant spécifiquement sur un corpus de rapports de lecture. Dans un premier temps, nous situerons le rôle et la place du scénario dans l’histoire de la production de films de fiction québécoise, entre acceptation et refus. Ensuite, nous nous intéresserons à la manière dont concrètement les scénarios sont lus : par qui, comment, dans quelles conditions, avec quels objectifs. Enfin, en utilisant une analyse par théorisation ancrée (grounded theory), nous identifierons, à partir des commentaires émis dans les rapports, cinq entités sur lesquelles le lecteur se fonde pour formuler son jugement. Il s’agit du scénariste, du scénario proposé, du lecteur lui-même, du film à faire et du spectateur présumé que nous nommerons fictif. Nous en conclurons que le lecteur de scénario occupe une fonction de médiateur entre un texte et son auteur d’une part et un futur film et son spectateur réel d’autre part. Cette médiation est le lieu de convergence de différentes attentes, celles des lecteurs, des auteurs, des producteurs et des institutions. / Our purpose in this study is to focus on the specific phenomenon of screenplay reading in Quebec institutional context. We’ll analyze a corpus of one hundred seventy two screenplay reading reports for feature fiction films, written between 1972 and 2004. There is, to our knowledge, no specific study on reading reports texts. At first, we’ll situate function and place of the scenario in Quebec fiction film production history, between acceptance and rejection. Then, we will look at how scenarios are read: by whom, how, under what conditions and with what objectives. Finally, using a grounded theory analysis, we will determine, based on the commentaries founded in the reading reports texts, five entities from which the reader settled his judgment: the screenwriter, the screenplay, the reader himself, the film forthcoming and the expected viewer we’ll call fictitious viewer. We’ll conclude that the screenplay reader is a mediator between a text and its author on one hand, and a forthcoming movie with his fictitious viewer on the other hand. This mediation is the convergence center of different expectations, those of the readers, authors, producers and institutions.

Cette thèse concerne l'étude des interactions entre le plasma et la paroi d'un réacteur à fusion nucléaire de type tokamak. L'objectif est de proposer des méthodes de résolution des systèmes d'équations issus de modèles de plasma de bord. Nous nous sommes intéressés au traitement de deux difficultés qui apparaissent lors de la résolution numérique de ces modèles. La première difficulté est liée à la forme complexe de la paroi du tokamak. Pour cela, il a été choisi d'utiliser des méthodes de pénalisation volumique. Des tests numériques de plusieurs méthodes de pénalisation ont été réalisés sur un problème hyperbolique non linéaire avec un domaine 1D. Une de ces méthodes a été étendue à un système hyperbolique quasilinéaire avec bord non caractéristique et conditions aux limites maximales strictement dissipatives sur un domaine multidimensionnel : il est alors démontré que cette méthode de pénalisation ne génère pas de couche limite. La deuxième difficulté provient de la forte anisotropie du plasma, entre la direction parallèle aux lignes de champ magnétique et la direction radiale. Pour le potentiel électrique, cela se traduit par une résistivité parallèle très faible. Afin d'éviter les difficultés liées au fait que le problème devient mal posé quand la résistivité parallèle tend vers 0, nous avons utilisé des méthodes de type asymptotic-preserving (AP). Pour les problèmes non linéaires modélisant le potentiel électrique avec un domaine 1D et 2D, nous avons fait l'analyse théorique ainsi que des tests numériques pour deux méthodes AP. Des tests numériques sur le cas 1D ont permis une étude préliminaire du couplage entre les méthodes de pénalisation volumique et AP. / This thesis deals with the study of wall plasma interactions in a nuclear fusion reactor such as a tokamak. The goal is to propose methods to solve partial differential equations issued from edge plasma models. We focus on two difficulties for the numerical resolution of these models. The first issue concerns the complex shape of the tokamak wall: we choose volume penalty methods. Numerical tests on several penalization methods have been performed on a nonlinear hyperbolic problem. One of these methods has been extended to a quasilinear hyperbolic system with a non characteristic boundary and maximally strictly dissipative boundary conditions on a multidimensional domain: it is proven that this penalty method does not generate any boundary layer. The second question comes from the strong plasma anisotropy between the direction parallel to the magnetic field lines and the radial one. Concerning the electrical potential, this results in a very low parallel resistivity. In order to avoid the troubles due to the ill-posedness of the equations when the parallel resistivity tends to 0, we study asymptotic preserving (AP) methods. For 1D and 2D nonlinear models of the electrical potential, we performed the theoretical analysis and numerical simulations for two AP methods. A preliminary study of the coupling between volume penalty and AP methods is also presented.

La cessation des paiements, c’est sans aucun doute l’une des notions clés du droit des procédures collectives. Pour s’en rendre compte, il suffit de vérifier le contentieux qui en la matière est très abondant. Légalement définie au sein du premier alinéa de l’article L. 631-1 du Code de commerce comme l’impossibilité pou un débiteur de faire face à son passif exigible avec son actif disponible, cette définition, a été, à l’origine, l’œuvre d’une décision de la Cour de cassation rendue le 14 février 1978. Sous l’empire des dispositions antérieures à la loi de sauvegarde des entreprises, la cessation des paiements est un « curseur » qui sert de ligne de démarcation entre les procédures amiables et les procédures judiciaires. Un tel système a été dénoncé car il manquait cruellement de souplesse et d’efficacité dans la lutte contre les défaillances des entreprises. La loi du 26 juillet 2005, dans l’optique d’anticiper le traitement des difficultés des entreprises a mis un terme au système de « la cessation-curseur » en instituant la procédure amiable de conciliation et la procédure collective de sauvegarde. Toutefois, lorsque les « digues » que constituent les outils de l’anticipation n’ont pas pu enrayer le risque de cessation des paiements, le chef d’entreprise qui se retrouve dans une telle situation doit, dans un délai de quarante-cinq jours, demander l’ouverture d’une procédure de redressement ou de liquidation judiciaire. Lorsqu’il ouvre l’une ou l’autre de ces deux procédures, le tribunal saisi doit fixer une date de cessation des paiements. Cette date sera décisive pour la détermination de la période suspecte. De plus, l’ouverture des procédures collectives aura une incidence sur l’entreprise, elle joue sa survie, sur les créanciers dont le recouvrement de la créance est menacé, sur les fournisseurs qui craignent pour leurs relations contractuelles avec le débiteur, sur les garants qui craignent d’être appelés et sur la personne du débiteur elle-même. Sa gestion antérieure de l’entreprise sera scrutée et s’il en résulte des fautes en relation plus ou moins directe avec la cessation des paiements, il encourt des sanctions ou des actions en responsabilité. / Cessation of payments is certainly one of the key concepts in the law on collective insolvency proceedings. This can be seen by checking the litigation, which is very abundant in this matter. Legally defined in the first paragraph of Article L. 631-1 of the Commercial Code as the inability of a debtor to meet its accrued liabilities with its quick assets, this definition originated in a decision of the Court of Cassation issued on February 14, 1978. Under the provisions prior to the insolvency act, cessation of payments is a "cursor" which serves as a line of demarcation between amicable proceedings and judicial proceedings. Such a system has been criticized for being sorely lacking in flexibility and effectiveness in preventing business failures. The law of July 26, 2005, with the objective of anticipating treatment of company difficulties, put an end to the "cessation-cursor" by instituting the amicable conciliation proceeding and the collective insolvency proceeding. However, when the "barriers" formed by the anticipation tools have not been able to halt the risk of cessation of payments, the company director in such a situation must, within a period of forty-five days, request the initiation of a receivership or court-supervised liquidation proceeding. When either of these proceedings is initiated, the court must fix a date of cessation of payments. This date will be final for the determination of the suspect period. Moreover, the initiation of collective insolvency proceedings will have an effect on the enterprise fighting for survival, on the creditors whose ability to collect their debt is threatened, on the suppliers worried about their contractual relations with the debtor, on the guarantors who fear being called upon and on the debtor itself. Prior management of the enterprise will be probed and if faults more or less closely connected to the cessation of payments are revealed, sanctions or tort actions may result.

Each year over 300 million people visit theme parks, making them the major vacation destination worldwide. Theme parks are known for their elaborate spectacle, the creation of artificial realities through intricate immersive experiences including costumed characters, stage shows, and extravagant decor. Though many aspects of the theme park experience have been reviewed, little focus has been given to the role of food in the overall immersion, particularly how food extends the spectacle into a fantastical created reality. This study examined the function of food within a highly immersive theme park setting, and how it contributed to the overall illusion and immersion of the fantasy environment. Research was conducted from December 2014 to March 2015 at The Wizarding World of Harry Potter, Universal Orlando Resort themed food served three overarching functions: (1) it operated as an experience, (2) it functioned as a conduit to authenticity, and, (3) it extended sensory perceptions. Food immersed tourists in the themed experience, though visual cues remained the primary sensory stimulus. However, guests considered the location to be more authentic when coupled with a themed food item, as opposed to the generic food choices found in other parks. Themed food functions as an extension of the spectacle by maintaining the illusion and contributes to the overall exhibition of the themed space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

Stripped of the intent of its author, L. Frank Baum, the children's fairy tale The Wonderful Wizard of Oz was left to be understood only within a changing cultural construct. Historian Hayden White, arguing that the similarities between a novel and a work of history were more significant than their differences, insisted that history was preeminently a subsection of literature. According to White, historical narratives were manifestly verbal fictions, and the only acceptable grounds upon which the historian should choose his historical perspective were the moral and the aesthetic. White conflated historical consciousness with myth and blurred the boundary that had long divided history from fiction. Just as changing cultural concerns infused the Dorothy of Baum's children's literature with meaning so social, cultural, and moral imperatives came to dictate the content of historical stories particularly in the historiography of the Reconstruction era. The twenty first century conception of Reconstruction is different from the conception influential at the start of the twentieth. In assessing the scholarship of William A. Dunning, contemporary historians have adopted a new paradigm when describing the scholar's Reconstruction accounts. Modern commentators reject Dunning's authorial intention and the contextual framework needed to define it. Thus, Dunning has receded into the "realm of myth." Careful attendance to Dunning's historical context, contemporary audience, and his authorial intent, will reposition the perspective for analysis of Dunning's work. Removing Dunning from abstract analysis will allow historians to arrive at an understanding of his work, and view the importance of the real Dunning, rather than the fabricated image constructed from a partial and even fragmented reading of his work. / Taking Dunning on his own terms restores a meaningful past and brings into bas-relief the tremendous advances the U. S. of twenty first century has made in reshaping social and political patterns.Taking theReconstruction era on its own terms impels historians to move beyond Dunning and return in their research to revisit primary records and documents as they work to clear the grisly ground of Reconstruction historiography for further fruitful examination. / by Kathleen P. Barsalou. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

Made available in DSpace on 2016-04-26T20:48:32Z (GMT). No. of bitstreams: 1 Patrick Rodrigues Andrade.pdf: 1437637 bytes, checksum: 0adc2dee140d02db386fb1bdf2f53b1a (MD5) Previous issue date: 2011-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is structured in two essays on rampant and crisis of capital, and, in the end, some notes as an outline for a critic of underconsumption. The first essay has its central issue the critics elaborated by Rosa Luxemburg to the schemes of social reproduction of Karl Marx, and the interpretation of the author to the meaning of the crisis of capital at the beginning of the 20th century. The first section argues about the theoretical status of the schemes of social reproduction of Marx, the debate surrounding them in the early twentieth century and the analysis undertaken by Rosa Luxemburg in her work The Capital Accumulation (1913). In the second section of this first essay, the analysis focuses on Luxemburg s perspective regarding the crisis of capitalism and her critic of Marx, particularly in terms of a "mismatch" between the schemes of reproduction extended in the second book of Capital and the conception of the capitalist global process of social of the third book. The third section examines some theoretical problems of Luxemburg, presented in earlier sections, under the terms of dialectical logic refined of the notion of "negation of negation", a perspective derived from the Western Marxism, which reaffirms the negative as such. What is questioned is the own conceptual processuality of capital and crisis developed by Karl Marx, a mediation involving the proper relationship between the concept and the non-conceptual. The second essay first discusses the "real abstraction" at the base of the capitalist form of wealth production, which puts dissimilar products in equality and then moves on the sense of the inequality of the same as the distribution rules of surplus-value no longer maintain a direct relationship with the production rules of surplus-value to such an extent that through the transformation of values in prices the value law itself is inverted and the ownership of capital becomes predominant , for how the development of fetishism opens a gap within the capital s profit itself. This essay discusses the commodity fetishism, the fetish of money and finally the capitalist relationship fully reificated in interest-bearing capital, emphasizing, to use a lacanian term, how reality itself has the structure of a fiction. Behind this discussion is the negativity inherent to the capitalist dynamic as a movement of constant resilience and recovery of its contradictions in "higher" levels. The notes, on the end, are limited to comments regarding a current Marxist debate between Michel Husson/Alain Bihr and Francois Chesnais/Louis Gill, however, without great damage, it is possible to extend such considerations, in "old" meaning of "critique of political economy," to the question of the underconsumption within the Marxist tradition, which refers to Rosa Luxemburg (in The Accumulation of Capital), Otto Bauer (in his political testament entitled Between the wars?), Henryk Grossman (in his series of lectures reunited on the volume The law of accumulation and the collapse of the capitalist system), and especially Paul Sweezy (The theory of capitalist development), that marks the end of an intellectual age the "classic tradition" of Marxism / O presente trabalho está estruturado em dois ensaios sobre desmedida e crise do capital, e, ao final, algumas notas como esboço de uma crítica do subconsumismo. O primeiro ensaio tem como assunto central as críticas elaboradas por Rosa Luxemburg aos esquemas de reprodução social de Karl Marx, e a interpretação da autora quanto ao significado das crises do capital no início do séc. XX. A primeira seção discorre a respeito do estatuto teórico dos esquemas de reprodução social de Marx, o debate envolvendo-os no início do século XX e a análise empreendida por Rosa Luxemburg em sua obra A acumulação de Capital (1913). Na segunda seção desse primeiro ensaio, a análise se concentra na perspectiva de Luxemburg a respeito das crises do capitalismo e sua crítica dirigida a Marx, principalmente no que concerne a uma incompatibilidade entre os esquemas de reprodução ampliada do livro segundo de O Capital e a concepção do processo de produção global capitalista do livro terceiro. A terceira seção examina certos problemas teóricos de Luxemburg, apresentados nas seções anteriores, sob o ponto de vista da lógica dialética acrisolada da noção de negação da negação , uma perspectiva oriunda do marxismo ocidental, que reafirma o negativo enquanto tal. O que é posto em questão é a própria processualidade dos conceitos de capital e crise desenvolvidos por Karl Marx, em uma mediação que envolve a própria relação entre o conceito e o não-conceitual. Quanto ao segundo ensaio, discute-se inicialmente a abstração real existente na base da forma capitalista de produção de riqueza, que põe os produtos desiguais em relação de igualdade e, posteriormente, se move no sentido da desigualdade dos iguais de como as regras de distribuição da mais-valia já não guardam relação direta com as regras de produção da mais-valia, a tal ponto que através da transformação dos valores em preços a própria lei do valor se inverte e a propriedade do capital se torna preponderante , para como o desenvolvimento do fetichismo abre uma lacuna no interior do próprio lucro do capital. O ensaio discute o fetichismo da mercadoria, o fetiche do dinheiro e finalmente a relação capitalista plenamente reificada no capital portador de juros, destacando, para usar um termo de Lacan, como a própria realidade tem a estrutura de uma ficção. Por trás dessa discussão está a negatividade inerente à dinâmica do capitalismo enquanto movimento de constante superação e reposição de suas contradições em níveis superiores . As notas se restringem a comentários quanto ao debate marxista atual entre Michel Husson/Alain Bihr e François Chesnais/Louis Gill, todavia, sem grandes prejuízos, é possível estender tais considerações, no velho sentido da crítica da economia política , à questão do subconsumismo no interior da tradição marxista, que remete a Rosa Luxemburg (em sua obra A acumulação de Capital), Otto Bauer (em seu testamento político intitulado Entre duas guerras?), Henryk Grossman (em sua série de palestras reunidas no volume A lei da acumulação e o colapso do sistema capitalista) e especialmente Paul Sweezy (A teoria do desenvolvimento capitalista), sendo que a concepção desse último marca o fim de uma era intelectual a tradição clássica do marxismo

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:07Z No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) / Made available in DSpace on 2018-08-15T12:20:07Z (GMT). No. of bitstreams: 1 Osmar Guerra Junior.pdf: 44268628 bytes, checksum: b031b731607b44e9cc8983d71ddcacea (MD5) Previous issue date: 2018-06-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The current research intends to investigate Vince Gilligan’s creation paths during the development of the character Walter White in the series Breaking Bad. A serial work created for the television is an open work, in constant evolution and development and subject to drastic interventions in its narrative path. The author who draws upon an initial proposition to develop such path must consider possible incoherences throughout the story, which could occur due to external interferences and characteristics of the market. Such aspect is not found in the story and this fact instigates is to investigate the paths which were created by the author in order to establish a natural progression for the character, without losing, however, the identity and the coherence of the narrative. Our focus is on the analysis of episodes of the series, as well as interviews given by the author and specific publications on the backstage of the creation processes, aiming to understand the interactions between script creation procedures and choices regarding the audiovisual resources adopted by the author throughout the seasons. We also discuss the series as a genre in the audiovisual context under the perspective of coherence development throughout time. Our theoretical approach is based on the concepts of author from Machado (2011) and Bakhtin (2010) in relation to criticism of creation process and networks of creation (Salles, 2000; 2006; 2008; 2013; 2017) as well as the semiotic signs developed by Charles Peirce / Esta pesquisa pretende investigar os percursos de criação de Vince Gilligan na construção e desenvolvimento do personagem Walter White, na série Breaking Bad. Uma obra seriada feita para a televisão é uma obra aberta, em constante evolução e construção, e sujeita a intervenções drásticas em seu percurso narrativo. O autor que se vale de uma premissa inicial para a construção deste percurso deve atentar-se para a possibilidade de incoerências no decorrer da história, dado as interferências externas e características deste mercado, fato este que não encontramos no decorrer da narrativa da série e que nos instiga a investigar quais foram os percursos criados pelo autor para estabelecer a evolução natural do personagem, sem perder, porém, a identidade e coerência narrativa. O foco do estudo está na análise dos episódios da série, de entrevistas dadas pelo autor e por publicação especifica sobre os bastidores dos processos de criação da série com a intenção de entender as interações entre os procedimentos de construção de roteiros e as escolhas de recursos audiovisuais adotados pelo autor ao longo das temporadas, adotar a perspectiva de processo para discutir a série ao longo das temporadas e fazer uma reflexão sobre o gênero série no contexto do Audiovisual sob o ponto de vista da construção da coerência narrativa ao longo do tempo. Para tal, a fundamentação teórica apoiar-se-á nos conceitos de autor encontrados nos estudos feitos por Machado (2011) e Bakhtin (2010); em interação com os conceitos da crítica de processos e redes de Criação (SALLES, 2000; 2006; 2008; 2013; 2017); e com os conceitos sobre signos semióticos de Charles Peirce