Submitted by Luiza Maria Pereira de Oliveira (luiza.oliveira@ufpe.br) on 2015-05-15T14:50:47Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO Orlando Silva de Oliveira.pdf: 4687464 bytes, checksum: d739eb25e47ccd00cea540bac40b2285 (MD5) / Made available in DSpace on 2015-05-15T14:50:47Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃO Orlando Silva de Oliveira.pdf: 4687464 bytes, checksum: d739eb25e47ccd00cea540bac40b2285 (MD5) Previous issue date: 2014-11-12 / A Arquitetura Orientada a Serviços (SOA) oferece um modelo arquitetônico que visa aprimorar a eficiência, a agilidade e a produtividade de empresas. Nesse modelo, os serviços são os principais meios para que os objetivos estratégicos sejam atingidos. Entretanto, o desenvolvimento de sistemas que utilizam este estilo de arquitetura tem exigido novas estratégias dentro da Engenharia de Software (ES), principalmente no tocante à disciplina de Engenharia de Requisitos (ER). Por outro lado, observa-se que as abordagens da Engenharia de Requisitos Orientada a Objetivos (GORE) têm ganhado notoriedade nos últimos anos. De fato, as abordagens orientadas a objetivos apresentam mecanismos que não são ofertados pela ER tradicional, como por exemplos capturar os objetivos dos stakeholders e as características do sistema em um mesmo modelo. Assim, é possível usar esse modelo para analisar e identificar se o sistema proposto atende aos objetivos dos stakeholders. Esse é um importante tipo de análise no contexto organizacional. No entanto, a literatura não apresenta uma forma sistemática para identificar serviços em modelos de requisitos orientados a objetivos. Além disso, há uma lacuna a ser preenchida na transição dos requisitos (espaço do problema) para a arquitetura equivalente (espaço da solução), no contexto da SOA. Dessa forma, este trabalho apresenta uma abordagem sistemática para a identificação de serviços em modelos GORE descritos em i* e a posterior obtenção da arquitetura SOA descrita em SoaML. A abordagem foi validada através de um estudo empírico com usuários reais.

This thesis project examines how scientific authority is produced through rhetorical practices instead of the “information deficit” model of science communication. By conducting a rhetorical analysis of the science documentary An Inconvenient Truth, this project demonstrates how the documentary format itself and the film’s leading agent, former United States Vice President Al Gore, attempt to persuade audiences through building degrees of scientific authority by employing multiple rhetorics or narrative themes of science to bolster the scientific facts supporting anthropogenic climate change. Additionally, I demonstrate how these narrative themes parallel three scholarly themes within the rhetoric of science literature: science as a story of perpetual discovery, science as reference, and science as an agent of moral prosperity. I argue that scientific authority is best understood through these multiple rhetorics of science which, in the dramatic case of An Inconvenient Truth, require Gore to overcome certain social and cultural obstacles by appealing to the values and sensibilities of his audience. Successful scientific persuasion, therefore, depends more on the elements of rhetoric rather than solely relying on accurate and verifiable scientific information as the crux of successful persuasion.

Environmental rhetoric has the capacity to render private citizens a concerned public. In doing so, it can prompt in individual practices of what, in classical rhetoric, was described as civic virtue and engage them in activities of responsible citizenship that work toward practical change. Within the recent tradition of environmental public discourse in the United States, Rachel Carson and Al Gore have each realized this capacity in their use of environmental rhetoric, by addressing, respectively, the issues of pesticide pollution and global warming in ways that galvanized citizens as an active public. This thesis examines the reasons behind this effectiveness. It asserts that both Carson and Gore employed a modernized epideictic as a rhetorical tool through which on the one hand, enabled them to invoke the shared values and associated emotions that have the capacity to bind citizens together in common cause, and on the other hand, to convey their own ethical character as civic speakers worthy of trust and emulation. My project in this thesis is to comprehensively track the process of arousing those political emotions and character in the writings of Rachel Carson and Al Gore, both of whom entered the public discourse in moments of environmental crises.

Modern Americans are exposed to scientific and technical information on a daily basis that urges them to react as well as learn about new ideas. The popular science writing that circulates this information must be portrayed in a way that makes it easy for lay people to understand complicated ideas while at the same time remaining complex enough to convince readers that the information is reliable, accurate, and worth learning. In making decisions about how to accomplish this balancing act, science writers make decisions that influence the audience's opinion about new scientific ideas, how easily the audience will accept or reject these ideas, and how the audience will react to the new information. In order to be as influential as possible on their audience, science writers must take full advantage of rhetorical kairos, or opportune timing. For this, they must keep in mind not only the chronological time and physical space, but issues including political maneuverings, society's morals, popular culture, and a myriad of other considerations. Any text must be influenced by the kairos that exists both before the text is created and during the presentation. In addition, each text helps create a new kairos for texts that come after. This is especially true in the field of popular science writing. Al Gore's An Inconvenient Truth is a useful text for analysis of this process, as he portrays scientific information to a lay audience in order to promote acceptance of a controversial idea and to encourage action based on that acceptance. Because he is working on a delicate topic for the time, Gore had to rely heavily on the kairos of the moments before and during his presentations, and he created a fertile kairos for continuation of the environmental discussion.

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This dissertation uses Critical Discourse Analysis to study debates among elite members and affiliates of the Democratic Party from 1988-2008 on class issues and their relevance to the party's environmental agenda. This research builds off of several related historical and theoretical accounts (both primary and secondary) of new social and economic divisions between college-educated and non-college educated workers that have shaped American politics since the 1970s. I focus on how Democratic interest in environmentalism changed as a 'professional-managerial-class' or 'new class' supplanted unionized, industrial workers as the primary social base of the Democratic party. I trace how related people and groups associated with the party understood the relevance of these different classes to consolidating enduring electoral power, and how these informed specific arguments for what ideological views or policy proposals the party should publicly embrace. Furthermore, I identify 'green' narratives related to environmental protection, as an emerging thematic framework that some Democrats felt could help them build a coalition based primarily around support from educated, white-collar workers. I contend that the ideological character of the party's environmental rhetoric, as articulated in this debate, has been influenced mostly by attempts to tailor the party's agenda to the perceived sensibilities of the college-educated, rather than the older working-class base. My analysis proposes three overarching core concepts most often ascribed to the professional class and its members' ideological disposition. I use the discursive method described above to explore their relationship to the framing of the climate issue and its connection to broader ideological values. These are (A) Meritocracy (B) Technocratic Rationality, and (C) Individualism. I argue these professional-oriented climate narratives can be understood as adapting the conceptual reasoning of an older liberal tradition to the structural conditions of the post-70s, globalized economy. Specifically, that the frequent emphasis on these three concepts implicit to the PMC-centric discourse is consistent with a liberal view of freedom as 'non-interference', and a related hostility to democratic interventions into the market. This ideological analysis is significant to the dissertation's focus on framings of climate change because an account this conceptual logic reveals the potential limits of the Democrats' efforts to create majoritarian, political support for environmental protection. / Doctor of Philosophy / This dissertation provides an analysis of debates among elite members and affiliates of the Democratic Party from 1988-2008 on class issues and their relevance to the party's environmental agenda. This investigation is informed by existing accounts of the social and economic divisions between college-educated and non-college educated workers that have shaped American politics since the 1970s. I focus on how Democratic interest in environmentalism developed as a 'professional-managerial-class' or 'new class' supplanted unionized, industrial workers as the primary social base of the Democratic party. I trace how related people and groups associated with the party understood the relevance of these different classes to winning future elections, and how these informed specific arguments for what ideological views or policy proposals the party should publicly embrace. Furthermore, I identify 'green' narratives related to environmental protection, as an emerging thematic framework that some Democrats felt could help them build a coalition based primarily around support from educated, white-collar workers. There are two narratives about class and its relevance to the party that recur frequently in these sources. The first advocates for a coalition made up primarily by the working-class, conceived of as wage-earning, high-school educated voters working in domestically bound, blue collar industries. The second argues the party should build a coalition made up of a professional-managerial class—referred to as the "symbolic analysts", "the rising learning class", "ideapolis dwellers", or "wired workers"— conceived of as affluent, well-educated professionals working in globally integrated sectors of a high-tech "new economy". Each of these views are based on identifying specific ideological sensibilities with the respective classes, which then justify arguments for particular framings of the party's identity and policy agenda. I contend that the ideological character of the party's public philosophy, as articulated in this debate, has been influenced mostly by attempts to tailor the party's agenda (or rhetoric) to the perceived sensibilities of the college-educated, rather than the older working-class base. I show that this was motivated by a belief that a coalition built around votes from the PMC would serve as a more reliable electoral base in a political environment where it was difficult to build support through redistributive, New Deal-style policies as the party had done since the 1930s. Some members perceived the professionals' investment in a post-material "New Politics" or "progressive centrism" as an alternative. The college-educated, they argued, could be motivated to support the Democrats on cultural grounds, allowing the party to embrace more free-market policies. In addition, several figures, including Chuck Schumer, Bill Clinton, and Al Gore argued that environmentalism could or should serve as the foundation of this progressive centrist version of the party, because of green issues' supposed compatibility with a 'pro-business', market-based agenda.

Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. / This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling.