As deleterious variants continually arise in a population, they tend to be purged via purifying selection, leading to distortions in the shapes of genealogies relative to neutral expectations. In recent years, a mounting body of evidence has arisen suggesting that this can have significant implications for the patterns of diversity seen in natural populations. However, existing theory has not yet fully characterized the effects of these distortions on the structure of genealogies. The focus of this thesis is on exploring this gap, and developing an analytical description of the distortions that arise in genealogies due to purifying selection. / Physics

Two identical or similar code fragments form a clone pair. Previous studies have identified cloning as a risky practice. Therefore, a developer needs to be aware of any clone pairs so as to properly propagate any changes between clones. A clone pair experiences many changes during the creation and maintenance of software systems. A change can either maintain or remove the similarity between clones in a clone pair. If a change maintains the similarity between clones, the clone pair is left in a consistent state. However, if a change makes the clones no longer similar, the clone pair is left in an inconsistent state. The set of states and changes experienced by clone pairs over time form an evolution history known as a clone genealogy. In this thesis, we provide a formal definition of clone genealogies, and perform two case studies to examine clone genealogies. In the first study, we examine clone genealogies to identify fault-prone “patterns” of states and changes. We also build prediction models using clone metrics from one snapshot and compare them to models that include historical evolutionary information about code clones. We examine three long-lived software systems and identify clones using Simian and CCFinder clone detection tools. The results show that there is a relationship between the size of the clone and the time interval between changes and fault-proneness of a clone pair. Additionally, we show that adding evolutionary information increases the precision, recall, and F-Measure of fault prediction models by up to 26%. In our second study, we define 8 types of late propagation and compare them to other forms of clone evolution. Our results not only verify that late propagation is more harmful to software systems, but also establish that some specific cases of late propagations are more harmful than others. Specifically, two cases are most risky: (1) when a clone experiences inconsistent changes and then a re-synchronizing change without any modification to the other clone in a clone pair; and (2) when two clones undergo an inconsistent modification followed by a re-synchronizing change that modifies both the clones in a clone pair. / Thesis (Master, Electrical & Computer Engineering) -- Queen's University, 2012-01-31 11:39:10.503

Basotho family odes (diboko) form part of oral literature, and refer to names of families, clans or totems. They constitute poetic compositions conveying information about clans' historical origin, philosophy and ancestors. The performance of this oral art form makes use of formulaic techniques such as linking, parallelism, alliteration, etc., which are commonly used in praise poetry. As basis to the content of these oral art forms, the genealogies of the various Basotho clans are discussed to show the reflection of the progenitor names in the clan praises. The functions of family odes are of educational, social and religious nature. Other functions include their use in compositions of other genres, such as, praise poems, mine workers' chants, traditional doctors' falls (mawa) and songs. The recitation of this oral art form is characterised by the instability of the texts, which takes the form of extensions, additions, truncations, improvisations and genre transitions. / African Languages / M.A. (African Languages)

Basotho family odes (diboko) form part of oral literature, and refer to names of families, clans or totems. They constitute poetic compositions conveying information about clans' historical origin, philosophy and ancestors. The performance of this oral art form makes use of formulaic techniques such as linking, parallelism, alliteration, etc., which are commonly used in praise poetry. As basis to the content of these oral art forms, the genealogies of the various Basotho clans are discussed to show the reflection of the progenitor names in the clan praises. The functions of family odes are of educational, social and religious nature. Other functions include their use in compositions of other genres, such as, praise poems, mine workers' chants, traditional doctors' falls (mawa) and songs. The recitation of this oral art form is characterised by the instability of the texts, which takes the form of extensions, additions, truncations, improvisations and genre transitions. / African Languages / M.A. (African Languages)

Cette thèse propose une exploration qualitative et quantitative des conditions dans lesquelles l’ethnie des Makina du Gabon se transforme au contact d’autres ethnies et au contact du monde urbain qui se construit à différentes échelles à travers le pays. La conclusion est que l’ethnie doit être déconstruite en diverses composantes qui connaissent des rythmes d’évolution qui sont objectivables dans leurs formes historiques et géographiques. Ce résultat est atteint par l’analyse contextualisée de 747 données individuelles qui – sur une durée globale d’un siècle – sont tour à tour référées au changement d’ethnonyme, au déplacement des villages, au changement de la langue pratiquée, à la modification des règles de mariage, à la transformation lente des noms de lignages et celle plus rapide des noms de personnes. La différence de vitesse de transformation de chacune des composantes structurantes de l’ethnie donne ainsi une configuration polyrythmique qui remet en cause les conceptions holistes de l’ethnie en leur préférant une dynamique de l’hétérogénéité. / The main proposal of this doctoral dissertation is an insightful study of the historical, linguistic and anthropological transformations of the Makina, an ethnic group of Northern and Eastern Gabon. These transformations are referred to the change, during the last century, of the original ethnonym as well as that of the language, of matrimonial rules, and finally of clan and person naming. On the whole, the author’s demonstration leads to the evidence of a rhythmical pattern in change, even a polyrhythmical one, as the differences in speed between different components of an ethnic group may be interpreted as a multi rhythmical transformation system. 81 genealogical diagrams and over 747 individual data collected on fieldwork give strong support to the different aspects of the author’s thesis.

The subject of this thesis is the study of certain stochastic models arising in Population Genetics. The study of biological evolution naturally motivates the construction and use of sometimes sophisticated mathematical models. We contribute to the study of the so-called Lambda models. Our work is divided into two parts. In Part I, we study non-spatial models, introduced in 1999. Although there is a very rich literature concerning the description of genetic diversity thanks to the genealogies arising in these models, we obtain new results by considering the dynamics of the full population. We also contribute by presenting the first Bayesian method that allows us to reconstruct the genealogies generated by these models from data. In Part II, we study a recent extension of these models to the spatial setting. In particular, we prove a non trivial result concerning the geographical dispersal of a new mutant under this model.

The thesis focuses on the four important Theban families of the 21st and 22nd Dynasties (the families of Nesipakashuty, Nebneceru, Djedthutefankh B and Neseramun). The text also pays attention to ways in which the political situation and cultural tendencies of the Libyan Period were reflected in the titulatury and biographical inscriptions of family members. The thesis opens with a general discussion of the Libyan influence on Egypt and a summary of the history of Thebes during the 20th-22nd Dynasties. The overview of the four families based on the lists of their members' titles and their biographical inscriptions follows. In the closing part an interpretation of influences of the changing political and cultural situation on the particular families is proposed: the political events themselves are reflected in the extant sources concerning the families only exceptionally, while the traces of political and cultural tendencies of the period are clearly present in these sources.

[ES] Desde finales del s. XX y en estas dos décadas del s. XXI, en el Estado español han proliferado una serie de prácticas y propuestas por parte de artistas, colectivos, teóricas y activistas que comparten un posicionamiento feminista y queer/cuir/kuir. En el transfeminismo confluyen genealogías (las feministas, las LGTBIQ+, las antirracistas y de(s)coloniales) que repiensan de manera crítica y compleja su entorno y su historia desde la disidencia. Su propuesta epistemológica, sus luchas identitarias, su vindicación de derechos, y su amplia producción cultural y política ha activado cambios en el contexto contemporáneo de forma inédita. Nuestra aportación a las redes transfeministas a través de 20 años de trabajo desde el colectivo O.R.G.I.A, nos permite elaborar un relato historiográfico alternativo que da cuenta de la relación entre lo político, lo afectivo y lo visual, y de su vinculación con el contexto, haciendo uso de la autohistoria-teoría para elaborar una memoria estético-política crítica de sus acciones, sus prácticas visuales y culturales, y sus textos. Desde el conocimiento situado y una perspectiva encarnada, se ahonda en el "ajuar frankenstein" de referentes, antecedentes, memorias e imaginarios, que alimentan buena parte de las prácticas artísticas transfeministas y las conectan con sus genealogías diversas. Se reflexiona sobre otras formas autónomas de acceder al conocimiento y de producirlo desde la autogestión (DIY, DIWO, DIT). Se analiza también la relación con las teorías y textos llegados de otros contextos en procesos de traducción de ida y vuelta, para ver la singularidad de los discursos generados en este contexto particular en relación a otros como el anglosajón, el francés o el latinoamericano. Se examinan así mismo aquellas referencias que surgen a partir y sobre las propias prácticas transfeministas, y que toman el pulso de su evolución e impacto en el ámbito de la cultura contemporánea, y en especial desde la llegada de la teoría queer. Los cambios acontecidos en el ámbito del arte y en algunas de sus instituciones permitieron una serie de encuentros en forma de jornadas y seminarios, en los que las relaciones político-afectivas se han ido consolidando. Su relevancia, y los debates generados en cada uno de ellos, han sido puestos en relación con las diversas prácticas visuales y/o performativas desarrolladas por colectivos y artistas transfeministas, organizando una casuística en torno a los principales temas de discusión. / [CA] Des de finals del s. XX i en aquestes dues dècades del s. XXI, en l'Estat espanyol han proliferat una sèrie de pràctiques i propostes per part d'artistes, col·lectius, teòriques i activistes que comparteixen un posicionament feminista i queer/cuir/kuir. En el transfeminisme conflueixen genealogies (les feministes, les LGTBIQ+, les antiracistes i de(s)colonials) que repensen de manera crítica i complexa el seu entorn i la seua història des de la dissidència. La seua proposta epistemològica, les seues lluites identitàries, la seua vindicació de drets, i la seua àmplia producció cultural i política ha activat canvis en el context contemporani de manera inèdita. La nostra aportació a les xarxes transfeministes a través de 20 anys de treball des del col·lectiu O.R.G.I.A, ens permet elaborar un relat historiogràfic alternatiu que dona compte de la relació entre el polític, l'afectiu i el visual, i de la seua vinculació amb el context, fent ús de l'autohistòria-teoria per a elaborar una memòria estètic-política crítica de les seues accions, les seues pràctiques visuals i culturals, i els seus textos. Des del coneixement situat i una perspectiva encarnada, s'aprofundeix en el "aixovar frankenstein" de referents, antecedents, memòries i imaginaris, que alimenten bona part de les pràctiques artístiques transfeministes i les connecten amb les seues genealogies diverses. Es reflexiona sobre altres formes autònomes d'accedir al coneixement i de produir-lo des de l'autogestió (DIY, DIWO, DIT). S'analitza també la relació amb les teories i textos arribats d'altres contextos en processos de traducció d'anada i volta, per a veure la singularitat dels discursos generats en aquest context particular en relació a uns altres com l'anglosaxó, el francés o el llatinoamericà. S'examinen així mateix aquelles referències que sorgeixen a partir i sobre les pròpies pràctiques transfeministes, i que prenen el pols de la seua evolució i impacte en l'àmbit de la cultura contemporània, i especialment des de l'arribada de la teoria queer. Els canvis esdevinguts en l'àmbit de l'art i en algunes de les seues institucions van permetre una sèrie de trobades en forma de jornades i seminaris, en els quals les relacions polític-afectives s'han anat consolidant. La seua rellevància, i els debats generats en cadascun d'ells, han sigut posats en relació amb les diverses pràctiques visuals i/o performatives desenvolupades per col·lectius i artistes transfeministes, organitzant una casuística entorn dels principals temes de discussió. / [EN] From the end of the 20th century and in these two decades of the 21st century, a series of practices and proposals by artists, groups, theoreticians, and activists who share a feminist and queer/cuir/kuir position have proliferated in the Spanish State. Transfeminism brings together genealogies (feminists, LGTBIQ+, anti-racist, and de(s)colonial) that critically and complexly rethink their environment and history from dissidence. His epistemological proposal, his identity struggles, his vindication of rights, and his extensive cultural and political production have activated changes in the contemporary context in an unprecedented way. Our contribution to the transfeminist networks through 20 years of work from the O.R.G.I.A collective, allows us to elaborate an alternative historiographical account that accounts for the relationship between the political, the affective and the visual, and its link with the context, making use of self-history-theory to elaborate a critical aesthetic-political memory of his actions, his visual and cultural practices, and his texts. From situated knowledge and an embodied perspective, it delves into the "Frankenstein trousseau" of references, backgrounds, memories and imaginaries, which feed a good part of transfeminist artistic practices and connect them with their diverse genealogies. It reflects on other autonomous ways of accessing knowledge and producing it from self-management (DIY, DIWO, DIT). The relationship with the theories and texts coming from different contexts in round-trip translation processes is also analyzed, to see the singularity of the discourses generated in this particular context in relation to others such as the Anglo-Saxon, the French or the Latin American. Likewise, those references that arise from and about the transfeminist practices themselves are examined, and that take the pulse of their evolution and impact in the field of contemporary culture, especially since the arrival of queer theory. The changes that have taken place in the field of art and in some of its institutions have allowed a series of meetings in the form of conferences and seminars, in which political-affective relations have been consolidated. Its relevance, and the debates generated in each of them, have been related to the various visual and/or performative practices developed by transfeminist groups and artists, organizing a casuistry around the main topics of discussion. / Higon Cardete, B. (2022). Redes excéntricas. Una memoria estético/política de las prácticas artísticas transfeministas en el estado español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189169

[ES] Esta tesis examina la representación de subjetividades lésbicas en el arte español durante la década de los noventa, un período marcado por la consolidación de la democracia y la influencia de la globalización. Este contexto histórico y social propició un auge en la experimentación artística y la expresión de identidades diversas, con un enfoque especial en las perspectivas feministas y queer. Este estudio busca llenar el vacío en la literatura existente respecto a la representación lésbica, explorando las representaciones artísticas que abordan temas en torno al cuerpo, la construcción de identidades y las relaciones múltiples entre sexualidad y género. La investigación contribuye a la reconstrucción de una genealogía de las subjetividades lésbicas en el contexto del Estado español que irrumpe con fuerza durante los años noventa, desde perspectivas teóricas, críticas, históricas y artísticas. Se realiza un análisis de la producción discursiva entre arte y sexualidad, y la influencia internacional de los discursos, teorías y prácticas artísticas que tuvieron repercusión en las artistas de esa década. A través del análisis de cuatro casos de estudio basados en los proyectos de Cecilia Barriga, LSD, Cabello/Carceller y Carmela García, se exploran conceptos como el desarrollo de las tecnologías de la imagen en movimiento, el activismo sexo político, la performatividad y la heterotopía. Estos casos reflejan temas recurrentes entre las artistas de la década de los noventa y proporcionan una visión integral del contexto en el que estas prácticas artísticas se desarrollaron, situándolas dentro del marco cultural más amplio del movimiento lésbico español del siglo XX y su legado en estas décadas del siglo XXI. / [CA] Aquesta tesi examina la representació de subjectivitats lèsbiques en l'art espanyol durant la dècada dels noranta, un període marcat per la consolidació de la democràcia i la influència de la globalització. Aquest context històric i social va propiciar un auge en l'experimentació artística i l'expressió d'identitats diverses, amb un enfocament especial en les perspectives feministes i queer. Aquest estudi busca omplir el buit en la literatura existent respecte a la representació lèsbica, explorant les representacions artístiques que aborden temes entorn del cos, la construcció d'identitats i les relacions múltiples entre sexualitat i gènere. La investigació contribueix a la reconstrucció d'una genealogia de les subjectivitats lèsbiques en el context de l'Estat espanyol que irromp amb força durant els anys noranta, des de perspectives teòriques, crítiques, històriques i artístiques. Es realitza una anàlisi de la producció discursiva entre art i sexualitat, i la influència internacional dels discursos, teories i pràctiques artístiques que van tindre repercussió en les artistes d'eixa dècada. A través de l'anàlisi de quatre casos d'estudi basats en els projectes de Cecilia Barriga, LSD, Cabell/Carceller i Carmela García, s'exploren conceptes com el desenvolupament de les tecnologies de la imatge en moviment, l'activisme sexe polític, la performativitat i la heterotopia. Aquests casos reflecteixen temes recurrents entre les artistes de la dècada dels noranta i proporcionen una visió integral del context en el qual aquestes pràctiques artístiques es van desenvolupar, situant-les dins del marc cultural més ampli del moviment lèsbic espanyol del segle XX i el seu llegat en aquestes dècades del segle XXI. / [EN] This thesis examines the representation of lesbian subjectivities in Spanish art during the nineties, a period marked by the consolidation of democracy and the influence of globalization. This historical and social context fostered a surge in artistic experimentation and the expression of diverse identities, with a special focus on feminist and queer perspectives. This study seeks to fill the gap in the existing literature regarding lesbian representation, exploring artistic representations that address themes around the body, the construction of identities, and the multiple relationships between sexuality and gender. The research contributes to reconstructing a genealogy of lesbian subjectivities in the context of the Spanish State that burst forth strongly during the nineties from theoretical, critical, historical, and artistic perspectives. An analysis is conducted of the discursive production between art and sexuality and the international influence of discourses, theories, and artistic practices that impacted the artists of that decade. Through the analysis of four case studies based on the projects of Cecilia Barriga, LSD, Cabello/Carceller, and Carmela García, concepts such as the development of moving image technologies, sex-political activism, performativity, and heterotopia are explored. These cases reflect recurring themes among artists of the nineties and provide a comprehensive view of the context in which these artistic practices developed, placing them within the broader cultural framework of the Spanish lesbian movement of the 20th century and its legacy in these decades of the 21st century. / Franco Peña, MY. (2024). Genealogías bolleras. Representación lésbica en las artes visuales en la década de los noventa en el Estado español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/204864

The thesis is a comparative and multidisciplinary study of legendary genealogies in the historical writing of northern England and Iceland c. 1120 – c. 1241. Historical writing was produced in abundance over this period in both areas and the frequent contact between England and Scandinavia, as well as shared use of early medieval insular sources make them especially suitable for comparison. The Viking invasions and settlement in England had a significant impact on English culture, language and literature and changed attitudes to their own legendary past. The Danish conquest of England in the early eleventh-century also brought the insular and Scandinavian worlds closer together, and even after the Norman Conquest in 1066, England and Scandinavia engaged in scholarly and textual exchange The theoretical framework for the thesis combines approaches from religious history, art history, political history, literature history and gender history. The main research questions of the thesis consider the dissemination, development, and purpose of legendary genealogies. The sources are a collection of Durham related manuscripts with illuminations of the pagan god Woden (c. 1120–88) in two historical works De Primo Saxonum Aduentu and De Gestis Regum; Genealogia Regum Anglorum (Rievaulx, 1153x54) by Aelred of Rievaulx; two works attributed to Snorri Sturluson’s Prose Edda (Iceland, 1220s) and Heimskringla (Iceland, 1225x35). Common to the sources is the inclusion of genealogies that stretch from legendary generations to living individuals at the time of writing. Thus, genealogies connected dynasties and civilisations in mutual descent from pagan, Trojan and biblical ancestors. By analysing textual dissemination as well as political contexts, literary patronage and mechanisms in legitimisation of power, the thesis address amalgamations of origin myths, the use and significance euhemerised pagan gods, and female generations in genealogies.