Dans cette étude exploratoire descriptive sur la théorie de l’attachement et la théorie de l’activation, le premier objectif était de déterminer quels types de configurations familiales en fonction de l’identité de la figure d’attachement et de l’identité de la figure d’activation se retrouvaient dans les familles biparentales hétérosexuelles et dans quelles proportions elles étaient représentées. Le second objectif était de vérifier les liens présents entre les configurations familiales et la qualité de l’attachement et la qualité de l’activation pour les deux parents. La situation risquée (RS) et la situation étrangère (SSP) ont été conduites auprès de 175 dyades père-enfant et dyades mère-enfant lorsque les enfants étaient âgés de 12 à 20 mois. Les résultats démontrent la présence de neuf types de configurations familiales dans l’échantillon. Il ressort également de cette étude que seul l’attachement au père dépend du type de configurations familiales. La qualité de l’attachement à la mère ainsi que la qualité de la relation d’activation aux deux parents sont indépendantes des configurations familiales. / The first goal, in this exploratory-descriptive study on attachment theory and activation relationship theory, was to define the different varieties of family configurations in two-parent heterosexual families, based on the identity of the attachment figure and the identity of the activation figure, and also to determine what proportions they represented. The second goal was to identify the links between family configurations and quality of attachment and activation with regards to both parents. The Risky Situation (RS) and the Strange Situation (SS) were conducted with 175 father-child and mother-child dyads for children between the ages of 12 to 20 months. Results indicated there were 9 types of family configurations within our sample. Our findings also indicate that only father attachment was dependant on the type of family configuration. The quality of attachment to the mother and the quality of relationship activation to the two parents were independent of family configuration.

A Thesis Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Painting.

No description available.

Alvarez’s In the Time of the Butterflies is a fictional depiction of three sisters who are lauded for their role in ending the supremacist, womanizing, and terror-inspiring reign of Trujillo. While, one character, Patria, seems to represent the traditional, and at times cloistered, life of a Dominican wife and mother (reflecting the Malinche and sufrida archetypes), the text also shows her transformation into one of the most vital figureheads of the revolution. I find that when she joins the revolution, she comes as a transformed Marian-figure. Unlike Ibez Gomez Vega and other feminist scholars who have categorized Patria as one torn between two ways and who chooses to replace the old ways with new ways, I argue that Patria finds a way to live pluralistically, as she inhabits the role of a revolutionized and evolved Madonna whom Gloria Anzaldua would refer to as a "new mestiza." This term changes its Aztec root "mestiza," meaning torn between ways into, a new mestiza who "copes by developing a tolerance for contradictions, [who] operates in a pluralistic mode–nothing is thrust out…nothing abandoned. Not only does she sustain contradictions, she turns the ambivalence into something else". In doing so, she reconstructs a Marian identity by returning to the Marian and Indigenous Goddess figures whose sexuality and equality with God have been buried by centuries of patriarchal and colonial fathers. This thesis demonstrates that Patria does not have to face the rigidity of certain feminist and secular standards. As a new mestiza. Patria can live beyond the rigidity of borders, and create something new, something that is truly Patria, out of womanhood.

No description available.

With the increasing speed of the microprocessor and its rapidly increasing demand for power, determining how to power the microprocessors for our computers becomes an important issue. So far, industry has been struggling to operate the VR/VRM at higher and higher switching frequencies while maintaining acceptable power conversion efficiency. As a consequence, the power switches used in the VR/VRM must be able to work efficiently at a higher switching frequency and with a higher current density. To evaluate the performance of the MOSFET for this low-output-voltage, high-current and high-switching-frequency application, a prevalent criterion, the Figure-of-Merit (FOM), is being widely adopted for determining the top switch of the buck converter in the VR/VRM. By comparing the FOMs of different devices, the device with the lowest FOM value should have the best performance and lead to the lowest loss for this device in the circuit. Qgd*Rdson is a widely accepted and widely used FOM for power devices. Due to the lack of accuracy of the power loss model, this FOM is no longer suitable for VRM applications. Furthermore, the question of how to use this FOM to select the right device for different application is another important issue. This work presents an investigation of a new Figure-of-Merit based on a more accurate loss model, which includes the factor of Qgs2, the gate-driving voltage and the packaging parasitics. Furthermore, a simple method is proposed to select the right device and gate-driving voltage for different circuit conditions. A new simple and accurate closeform model for device loss with packing parasitics is derived. This model can provide more physical information for each of the device parameters. The loss influence of the different packaging method is analyzed and discussed at the end of the work. / Master of Science

While there is extensive research on attachment and the role attachment relationships play in human development, little to no research has applied the concept of alternative attachment figures to the role counselors play in a residential setting with adolescents. Furthermore, little research has explored the impact a counselor's own attachment style may have on his or her ability to foster secure attachment behaviors in clients. In order to explore each of these topics, the current study examined the relationship between female residents of a treatment facility and their counselors. Eight residents and three counselors were selected to participate in the study based on how long the residents had been in treatment. Each completed measure of attachment security as well as in depth qualitative interviews. Profiles were created for each of the counselor/resident dyads and relationship dynamics were compared to previous research in order to explore the therapeutic relationship in light of attachment. Therapeutic implications and areas of future research are also discussed. / Master of Science

Overweight and obesity have been increasing dramatically in the United States. Certain ethnic and sociodemographic subsets of the population, including Latino children, tend to suffer proportionally higher rates of overweight. The first body figure scale was published in 1983 by Stunkard, Sørensen, and Schulsinger, researchers delineating the influence of genetics. Body figure scales consist of a series of similar figures, ranging in appearance from emaciated to obese. Respondents circle the figure that resembles the person or ideal of interest. Currently no figure scale targets multi-ethnic or minority pre-adolescent populations. This study sought to discern the favored design parameters, including format and stance, for the creation of an evidence-based body figure scale for use with mixed populations of youth. Eighty-nine fourth and fifth-grade students from four ethnically diverse elementary schools in northern Virginia were surveyed using novel and standard body figure scales, and assessed for anthropometric measures. Approximately 37% of subjects were at-risk of overweight or overweight; levels varied between and within ethnic groups. Subjects identified best with photographic format scales with figures shown in a three-quarters stance with their arms at their sides. The choice of a "self" figure on both the novel and Collins (1991) figure scales was related to BMI-for-age percentile and body image. The novel scale allowed differentiation of mean self-identified figure choices between ethnic groups. There is hope that body figure scales will one day provide rapid, inexpensive assessment of overweight and obesity. / Master of Science

In this study, I propose through the thought of Jacques Ellul that humanity has perverted the original creation. In doing so, we have constructed what I will call a Counter-Creation; a second creation. In this counter-creation, mankind has replaced the creativity and the fluidity of the original. Along with this I argue in the second chapter that we have socially constructed new gods, which I will call sacred myths. These sacred myths are unquestionable, and hold power over against humanity. In the third chapter, I depart from Ellul, and go beyond his reflections on the vanity of life, on the vanity of socially constructing the world around us. Through the story of Cain and Abel, I propose that in Qoheleth there are two types of vanities in play: One that is unrighteous and one that is righteous. In doing so, I hope to help people recognize their finitude, while not being paralyzed or being tempted to plunge into chaos due to the meaninglessness of life.

Ma démarche de recherche comme de création s’articule autour de l’animalité dans ses relations avec l’art d’une part et autour des notions-clés que sont l’anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l’hybridation, constantes thématiques, iconiques et plastiques de mes travaux d’autre part. Comment et pourquoi l’artiste convoque-t-il l’animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l’homme et l’animal, mais aussi aujourd’hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l’animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l’art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d’œuvres : les nôtres, celles de l’art d’hier et d’aujourd’hui. Il s’en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d’expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l’animal bénéficie ainsi, au sein de notre thèse, d’une triple définition. L’image de l’animal, reflet et mémoire de notre humanité, accompagne l’homme, tel le paradigme – modèle vivant ou image modèle –, d’une certaine identité de l’homme – ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l’animal est aussi à entendre comme une médiation, réussissant là où l’attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l’image ambigüe ou ambivalente de l’animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s’interpénètrent. / My research as well as my creative process on the one hand, revolves around the animal figure in its relationship to art, and on the other hand, around the key-notions of animal anthropomorphism, zoomorphism, metamorphosis, the animal figure and hybridization; constant, iconic and plastic themes of my work. How and why does the artist call forth animals in such a recurrent and diversified manner? How have physical and materiel complementarities, mental analogies as well as exacerbated tensions come into play today, in such a striking fashion between mankind and the animal world? If animals are the off-centered witness of how our societies function, as a distorting and critical mirror, what does its figure reveal when grappling with the art of our beast-like behaviors and of the relationship that we maintain with it? Resorting to concepts emanating from different academic disciplines, in particular, the human sciences, has provided and shed light to the analyses of the works: our own, those of the past and of today. The result being, an utterance density as regards the content of the link which feeds the man-animal pair, whether the situations staged are fictitious or real. The parallel drawn between the methods of plastic expression (imitation, caricature, assemblage, staging) and stylistic devices (metonymy, metaphor, comparison, allegory) within the process listed above is aimed at highlighting the discursive nature of the selected works. Eliciting the animal world within our thesis, thus benefits from a three-fold definition. The animal’s image, which is the reflection and recollection of our humanity, accompanies mankind, as the paradigm – living model or ideal image –, of a certain identity of mankind – its weaknesses, its rebellions, its excesses, its obsessions, etc. In addition, the animal’s figure is also to be understood as a mediator, prevailing over direct criticism and dialogue, and managing to reconcile opposites. Thus invested, the animal’s ambiguous or ambivalent image gives rise to multiplicity, to an extraordinary, artistic and iconographic fertility. Its figures, which challenge the monolithic form, are rarely isolated; they cross over, are mingled, and permeate.