Thesis advisor: Robert Lehman / The scholarship surrounding the anglophone Bildungsroman has been to this point largely divided by national and periodized boundaries. This approach to the coming-of-age novel highlights tightly-knit clusters of texts that share geospatial contexts but precludes the possibility that texts from outside these demarcated groupings share essential features that might transcend the borders of nations and literary periods. In the supposed age of literary cosmopolitanism, it is perhaps time for a new approach to the Bildungsroman. I contest that, by approaching various Bildungsromane on the level of their form and structure, new constellations of texts emerge that bring forth new questions and challenges to the conventional narrative of the rise and fall of the Bildungsroman throughout the long history of the novel globally. Each of the texts I discuss fuses a common literary form–the oral tale, the Gothic, literary naturalism, the national allegory–with the coming-of-age novel which inflects and informs its familiar plot, creating cross-cultural and cross-temporal patterns as practitioners of the genre take it up in vastly different circumstances and contexts.  Each manifestation of these hybrid Bildungsromane represents new fields on which the experimental potentialities for individual subjectivity and agency in modernity might ensue, from the early 1840s to the turn of the twenty-first century. In texts which incorporate the chronotope of the oral tale, I argue that authors use the genre to create space for individual agency in a globalizing world. In the inclusion of the Gothic, I suggest, the Bildungsroman resituates the human on the periphery of the text, thrumming with increasingly animate places and things that crowd the individual subject out of her own development. I then question the entropy spirals present in literary naturalism as they temper and trouble the linear development plot, and offer insights into texts that use this fused form to preclude Bildung and texts that use the forces of naturalism to create subterranean structural narratives that reassert its latent potential. I then take the national allegory, a genre with a complex relationship to the Bildungsroman, and argue that the individual subject comes to hold an almost mythic position which comes to be either dissolved or monstrously reasserted in dark reflections of late colonial and postcolonial national imaginations. Finally, I argue that through fantastical realism, a utopian formal play emerges in the narration of the Bildungsroman that creates the narrative space for unique representations of multilayered, open-ended identities at the end of the text. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Programming parallel computers remains a difficult task. An ideal programming environment should enablethe user to concentrate on the problem solving activity at a convenient level of abstraction, while managing the intricate low-level details without sacrificing performance. This thesis investigates a model of parallel programming based on the Bird-Meertens Formalism (BMF). This is a set of higher-order functions, many of which are implicitly parallel. Programs are expressed in terms of functions borrowed from BMF. A parallel implementation is defined for each of these functions for a particular topology, and the associated execution costs are derived. The topologies which have been considered include the hypercube, 2-D torus, tree and the linear array. An analyser estimates the costs associated with different implementations of a given program and selects a cost-effective one for a given topology. All the analysis is performed at compile-time which has the advantage of reducing run-time overheads. the cost model's accuracy in choosing a cost-effective implementation and predicting its performance has been studied for three programs. The main contribution of the thesis is the cost model which aims to predict realistic performances and which considers several possible parallel implementations for a given programbefore selecting a cost-effective one.

This thesis concerns the use of the Bird- Meertens Formalism as a mechanism to control parallelism in an imperative programming language. One of the main reasons for the failure of parallelism to enter mainstream computing is the difficulty of developing software and the lack of the portability and performance predictability enjoyed by sequential systems. A key objetive should be to minimise costs by abstracting much of the complexity away from the programmer. Criteria for a suitable parallel programming paradigm to meet this goal are defined. The Bird-Meertens Formalism, which has in the past been shown to be a suitable vehicle for expressing parallel algorithms, is used as the basis for a proposed imperative parallel programming paradigm which meets these criteria. A programming language is proposed which is an example of this paradigm, based on the BMF Theory of Lists and the sequential language C. A concurrent operational semantics is outlined, with the emphasis on its use as a practical tool for imcreasing confidence in program correctness, rather than on full and rigorous formality. A prototype implementation of a subset of this language for a distributed memory, massively parallel computer is produced in the form of a C subroutine library. Although not offering realistic absolute performance, it permits measurements of scalability and relative performance to be undertaken. A case study is undertaken which implements a simple but realistic algoritm in the language, and considers how well the the criteria outlined at the start of the project are met. The prototype library implementation is used for performance measurements. A range of further possibilities is examinedm, in particular ways in which the paradigm language may be extended, and the possibility of using alternative BMF-like type theories. Pragmatic considerations for achieving performance in a production implementation are discussed.

A slightly relativistic fermion gas is described by the dynamical theory obtained from the Wigner distribution function. The problem is approached in a self-consistent manner including the two-body Darwin Hamiltonian. The goal is to find the departures from equilibrium and dispersion relations for wave propagation in the gas.

Title: Universal Constraint Language Author: Peter Piják Department / Institute: Department of Software Engineering Supervisor of the master thesis: Mgr. Martin Nečaský, Ph.D. Abstract: Today's software applications are typically compound of system of more application components. By modeling of software, various integrity constraint languages are used for particular parts of model (e.g. OCL for UML class diagrams, Schematron for XML or SQL triggers for relational databases). Constraint expressions need to be converted to expressions over different meta-models. These tasks are non-trivial. In this thesis, a new common language Universal Constraint Language (UCL) for expressing integrity constraints over various data meta-models is introduced. It is formally defined and also its parser is implemented. We also present semi-automatic translating between constraints over various meta-models; and deriving constraints from the introduced language to constraints in specific constraint languages. Keywords: constraint language, model-driven architecture, universal formalism

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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.

Abstract As a novel always deemed eccentric and chaotic, Laurence Sterne¡¦s Tristram Shandy has constantly drawn attention of the reading public but has also incurred multitudinous attacks by the critics for its apparent disorderliness. Exteriorly, the novel indeed exhibits chaotic features, whether by its digressions or interludes; however, after a close and meticulous analysis we could actually find harmony and unity within all the confusions and irregularities. Since the author utilizes the eccentricity of the novel to camouflage harmony within, we could assume that a force of some kind is surreptitiously in motion to conduct all the exterior chaos into harmony. Thus my objective in this thesis is to indicate and analyze the ¡§force¡¨ which can trample down all the external irrationalities and enables harmony and order to reveal themselves once again. The thesis will analyze the novel in three main aspects. Formally, the digressions of the novel will be mainly investigated. All the seemingly irrelevant opinionative and explanative digressions will be discussed and examined in close analysis. In dealing with digressions, the ideas of the Russian Formalist Victor Shklovsky will be referred to. Reciprocally, Sterne¡¦s demand for his reader¡¦s participation (interaction) is another distinguishing feature of the work. This part of the thesis will examine the balancing force while it exhibits itself when readers act as active agents bestowing meanings through interaction and Wolfgang Iser¡¦s Reader-Response theory will applied. The closing section of the thesis endeavors to analyze the content of the novel by inspecting the discrepancies and exemplify how Sterne attempts to liberate his reader¡¦s imagination. The thesis will end with the analysis of the author¡¦s philosophical attitude towards life as I realign the novel in strict time-order and trace the causality of the events within. Key words: Laurence Sterne, Tristram Shandy, Russian Formalism, reader response, interaction, digressions, harmony, chaos, discrepancy, causality

My thesis explores the role played by form in our experience of objects of consciousness as art. In doing so, I look at the concept of form as it was understood by prominent philosophers such as Plato and Aristotle, as well as form in Immanuel Kant’s aesthetics in The Critique of the Power of Judgment. My method is phenomenological and rooted in my experience of making and writing about art, as a student of studio art and of philosophy. To connect philosophical understandings of form to the experience of art in a way reflective of my experience, I show the connection between and influence on art critical understandings of form by philosophical understandings of form. In particular, I focus on Modernist formalism as Clive Bell, Roger Fry and Clement Greenberg articulated it. Modernist formalism played a role in the teaching style and content of art studio classes I attended. The role of form in our experience of art was problematized by Conceptual Art, which movement also deeply impacted the teaching style and content of my studio art classes. The tension I experienced between these two movements in art and its criticism led to my interest in this topic and informed my choice to limit the scope of my investigation to Modernist formalism and Conceptual Art. In particular, I focus on philosophically trained Conceptual Artists such as Adrian Piper and Joseph Kosuth. Changes in the way art was made and understood impacted the understanding of the concept of form not only for art critics, but also for philosophers. I include contemporary philosophical discussions of form by Bernard Freydberg and Rudolphe Gasché to show the movement and interrelatedness between art and philosophy about the concept of form. The conclusion I reach is that form in our experience of art is constructive of that experience if our consciousness of art objects is conceived of as an engaged, rather than disinterested. My rejection of disinterest in favour of engagement is adapted from Arnold Berleant’s account of the aesthetic experience. I retain a place for the object as it is given, using H.J. Gadamer’s terms “changing” and “unchanging aspects.” The object’s properties are its unchanging aspects while the shifting contextual ground on which art as an experience is built is the changing aspect. I conclude that form is a way of seeing that requires both of these aspects.

This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.