Submitted by Paula Quirino (paula.quirino@ufpe.br) on 2015-03-10T18:18:25Z No. of bitstreams: 1 DISSERTAÇÃO Jair Rocha de Oliveira Neto.pdf: 3623832 bytes, checksum: 1690067fcfa97d652ccacce825430ff7 (MD5) / Made available in DSpace on 2015-03-10T18:18:25Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO Jair Rocha de Oliveira Neto.pdf: 3623832 bytes, checksum: 1690067fcfa97d652ccacce825430ff7 (MD5) Previous issue date: 2014 / A partir das questões que envolvem relações de causa e efeito muitos trabalhos vêm sendo desenvolvidos com o intuito de descobrir se a violência dos jogos leva a comportamentos violentos. No entanto, outras questões que antecedem esta não vêm recebendo a devida atenção, tanto pelo senso comum, como pela academia. Por que realizar violência nos videogames? Esta dissertação teve por objetivo investigar a experiência da violência dos jogos eletrônicos, a partir dos significados atribuídos pelos seus próprios agentes. Através dos jogadores da franquia GTA (Grand Theft Auto), buscamos compreender o porquê de agredir, atropelar, matar, furtar e roubar. Qual o prazer em assumir o personagem do bandido e cometer estes crimes? A partir de uma análise microssociológica do jogar, que envolveu entrevistas, registro de imagens, observação e participação nas sessões de jogos, identificamos que os prazeres da violência virtual não se fundamentam em seus efeitos destrutivos, no sentido de que os jogadores não cometem os atos de violência guiados pelo prazer em destruir e causar sofrimento ao outro. Antes, os gamers buscam uma experiência extraordinária de poder. Neste sentido, a violência praticada apenas faz sentido a eles na medida em que seus atos representam uma experiência de empoderamento e liberdade. Através da competição, da incorporação do papel do bandido, da criação de narrativas, da superação de situações de fragilidade em um mundo extraordinário, os jogadores ressignificam o sentido imoral e assustador de seus atos de violência para sentidos prazerosos, lúdicos e cômicos.

In the thesis, the authors investigate how the women in the videogame Grand Theft Auto V are being portrayed in three different walkthrough videos on YouTube. With the aid of theorist Mieke Bal and her narratology terms, the authors of the thesis can examine the characters. The academic theories used for the thesis are gender, representation, videogame and the male gaze, as well as narratology. The issues being handled in this study are meant to answer how the portrayal of women characters are, and how the different portrayals differ from the represented characters. The third issue describes how women are being treated by the protagonists in the videogame. Over the course of the study, the authors found that the majority of the characters are described as flat in the videogame, and maintains a stereotypical image. This stereotypical portrayal commence from sexual references and treatment from the protagonists. However, a few characters can be described as round. These characters develops with time. There are also examples from the study that shows that there are characters who portray a dominant personality, therefore breaking the common pattern.

In this paper I will describe the creative process throughout the making of my short film thesis GRAND. I will describe this in three parts: pre-production, wherein I will detail developing the concept, writing the script, and funding/preparing for production; production, wherein I will detail the set construction, visual planning, and the day-to-day operations on set; and post-production, wherein I will detail the editing of the film and the composition of the score. All of this will be framed in reference to the proposed theme of the film, and I will conclude by evaluating whether or not the finished short film achieves what I initially set out to achieve.

Magister Legum - LLM

La presence d’inhomogénéite de matière le long de la ligne de visée d’une source lumineuseprovoque la déviation des rayons lumineux : c’est l’effet de lentille gravitationnelle. Dans cette thèse, nous etudions l’effet de lentille gravitationnelle qui affecte les supernovae détectées par le Supernova Legacy Survey et induit une dispersion supplémentaire dans leur distribution en magnitude observée. Cet effet est mis en évidence par la mesure d’une corrélation positive entre : d’une part, le résidu au diagramme de Hubble c’est-à -dire à l’ajustement de la dépendance en redshift de la magnitude de la supernova ; d’autre part, la magnification calculée en modélisant les halos galactiques présents le long de la ligne de visée. Une corrélation positive est estimée, en utilisant les données à cinq ans du Supernova Legacy Survey. Le résultat obtenu est compatible avec les résultats précédemments obtenus sur un lot de supernovae plus restreint. / The presence of mass inhomogeneities along the line of sight of propagation of light fromdistant objects can induce deflection in the flight path of the photon. This phenomenon is called as gravitational lensing. Lensing can have both distortion (shear) and isotropic magnification effects on the source. We studied the effect of lensing magnification on supernova (SN) Ia in this thesis. Presence of lensing would introduce a source of contamination to the brightness distribution of the source (SN Ia in our case). Thus it also enables one to compute the lensing effect indirectly from the Hubble diagram (i.e. from the residual to the Hubble diagram). In this thesis we computed the correlation between these two effects : the Hubble residual and the computed lensing magnification for the SN by the line of sight foreground dark matter haloes. A detection of positive correlation between these two would signify the positivity of lensing signal detection. The data sample is the spectroscopic SNe Ia sample from the five years full SNLS data and the Hubble resiudals are those of the preliminary cosmology analysis performed on SNLS5 data. We obtain a signal of _ = 0.177 at 2.51_. This result is consistent with the previous SNLS three years data lensing analysis results.

The facility for the development and promotion of motorsport in South Africa will aim to serve as a precedent for future race track development. It is an exploration into the culture of motor racing and how the culture of architecture is enhanced within this very realm. The aim of this discourse is to establish the criteria required for an improved experience trackside and create a relationship between motor racing and architecture that will exhibit the fundamental purpose of being at the track - the racing. / Dissertation (MArch(Prof))--University of Pretoria, 2007. / Architecture / unrestricted

The aim of this research is to show how the “new” musicology differs from the “old” with regards to the creation of knowledge about music, which I refer to as “musicological epistemology”. If epistemology is described in the contemporary era as “justified, true belief” (Huemer 2002: 435), this dissertation discusses how McClary, acting as a “new” musicologist, has justified her “true beliefs” in order to create postmodern knowledge about music in the contemporary era, and how these “true beliefs” differ from “old”/modernist musicological opinions concerning the meaning of music. In this dissertation I have included short descriptions of how I believe the various categories of “old” musicology functioned epistemologically. In order to demonstrate how musicological epistemology has changed in the contemporary era, I have undertaken an epistemological analysis of four of McClary's core articles/musicological narratives included in Reading Music: Selected Essays (2007). I have chosen one article from each of McClary’s main subjects of discourse from 1983 to 2007, namely “interpretation and polemics”, “gender and sexuality”, “popular music” and “early music”, in order to ascertain the “nature, scope and limits” of the knowledge she creates through the writing of these narratives. I have found that McClary has incorporated a variety of postmodern debates into her musicological writing, which separates her, epistemologically, from the “old” musicology. This “old”/“new” musicological split is particularly established in my epistemological analysis of “The blasphemy of talking politics during Bach Year” (1987) in which McClary vehemently criticizes key aspects of the “old” musicology, as well as enunciates how she believes the “new” musicology should function epistemologically. The epistemological analysis of “The cultural work of the madrigal” (2007) shows McClary’s epistemology in its mature form. With regards to McClary’s epistemology, I have discovered that the knowledge she is creating is subject to the reader’s acceptance of the postmodern debates that inform her postmodern intellectual context (relativism, identity and deconstruction for example), which establish the conditions under which her work can be considered as knowledge. I have referred to this type of knowledge as “conditional knowledge”, specifically in the epistemological analysis of “Living to tell: Madonna’s resurrection of the fleshly” (1990). McClary’s knowledge is also subject to the contexts in which she situates these essays (a feminist context, for example), which I have referred to as “context-based knowledge” in my epistemological analysis of “Construction of subjectivity in Schubert’s music” (1994). These forms of knowledge admit a subjective viewpoint and are generally of a socially responsible nature. These elements clearly articulate McClary’s acknowledgement of her postmodern intellectual context with regards to Lyotard’s call for greater toleration and sensitivity in his seminal work La condition postmoderne: rapport sur le savoir (1979) (The Postmodern Condition: a Report on Knowledge), the essential aspects of which are also discussed in this dissertation. The micronarrative format of her knowledge also relates to Lyotard’s theories, as well as McClary’s open avoidance of grand narratives in her writing. Through my analyses I have affirmed that McClary has produced these postmodern forms of knowledge whilst adhering to the accepted principles of epistemic rigour. Postmodern theory has revealed a relativistic and subjective view of human language and knowledge. McClary, acknowledging this postmodern realization, has taken control of the production of musical meaning and is creating musical knowledge that is meaningful and useful to marginalized groups in the social and musical world. / Dissertation (MMus)--University of Pretoria, 2013. / Music / unrestricted

Depuis le Pageant du tricentenaire de la ville de Québec, qui a eu lieu en 1908, plusieurs spectacles historiques à grand déploiement ont été créés au Canada français, et particulièrement au Québec, et ce, jusqu’aux années 1960. Ces spectacles populaires et amateurs, souvent créés dans le cadre de festivités célébrant des anniversaires de fondation de localités ou d’établissements scolaires ou religieux, connurent ensuite un déclin, pour revenir en force à partir de la fin des années 1980. Présenté de 2004 à 2008 dans la ville de Casselman, en Ontario, le spectacle L'écho d'un peuple est l’un des plus importants représentants contemporains de ce genre théâtral et s’avère, par sa forme et son contenu, différent des autres productions de ce genre. Ce mémoire vise à démontrer que L’écho d’un peuple véhicule un discours identitaire fondé sur la grandeur des origines par le biais d'une forme spectaculaire particulièrement apte à la transmission d’un discours épique. Le premier chapitre présente l’historique du spectacle, de sa création jusqu’à sa dissolution, alors que le deuxième chapitre démontre son appartenance au genre du « pageant scénique », une forme théâtrale très utilisée dans les spectacles historiques à grand déploiement produits durant la première moitié du XXe siècle. Les troisième et quatrième chapitres, qui proposent une analyse des composantes temporelles et spatiales du spectacle, démontrent que les événements historiques privilégiés par la trame narrative contribuent à construire un discours historique fondé sur la grandeur des origines de l’Ontario français, ponctué d’exploits accomplis par des héros évoluant sur un territoire spécifiquement franco-ontarien.

Cette thèse a pour but d’analyser l’émergence et l’évolution de différents discours portant sur la sécurité et la souveraineté arctiques au Canada, pendant la décennie 2000-2010. Notre regard portera plus précisément sur le discours du Grand Nord assiégé. Une de nos questions de recherche fut de comprendre comment des évaluations optimistes et pessimistes du portrait sécuritaire arctique au Canada se sont traduites dans les discours sécuritaires arctiques tenus par différents acteurs politiques canadiens au cours de la décennie 2000-2010. De plus, une deuxième question de recherche se demandera si des groupes de la société civile canadienne ont été à même de formuler des idées sécuritaires alternatives à celles défendues par le gouvernement canadien. Pour ce faire, nous réaliserons une analyse de contenu qualitative de trois différents acteurs politiques canadiens : le gouvernement fédéral, les médias, plus particulièrement les textes d’opinion dans les quotidiens canadiens, et les groupes inuits. Une attention particulière sera portée à trois crises de souveraineté ayant éclaté durant cette période : la crise de l’île de Hans (été 2005), celle du sous-américain USS Charlotte (hiver 2005-2006) et la crise du drapeau russe sous le pôle nord (été 2007). Nos conclusions nous indiquent que le discours pessimiste a été exprimé en tout premier lieu dans les médias canadiens avant d’être inséré dans la rhétorique gouvernementale en 2005. De plus, les menaces étatiques vont davantage mobiliser les différents acteurs politiques canadiens étudiés que les menaces non-étatiques. La menace russe en particulier a été utilisée pour justifier des mesures additionnelles de défense de la souveraineté canadienne en Arctique. Sur notre deuxième question de recherche, nous pouvons observer que la société civile canadienne a été capable d’exprimer des idées sécuritaires alternatives. Par contre, les idées dominantes du continentalisme et du nationalisme ont guidé la politique étrangère canadienne pendant une bonne partie de la décennie, l’internationalisme libéral étant marginalisé par la prédominance de celles-ci. De plus, les groupes inuits ont été les plus à même de formuler des conceptualisations alternatives de la sécurité et de la souveraineté arctiques au Canada.

La déportation des Acadiens de leurs terres en 1755 est un évènement sur lequel se fonde cette communauté. Le Grand Dérangement, comme on l’appelle fréquemment, n’est pas un simple évènement historique. Il aura passé de l’histoire à la mémoire et de la mémoire au mythe. Élevé officiellement au rang de mythe fondateur lors de la première Convention nationale acadienne de 1881, le Grand Dérangement subira par la suite de nombreuses réinterprétations dans les discours politiques. Reprenant la théorie de Gérard Bouchard sur les mythes et les imaginaires collectifs, cette thèse vise à comprendre quelles ont été les interprétations historiques du mythe du Grand Dérangement dans le discours national des élites acadiennes entre 1763 et 2005. Retourner au mythe, c’est retourner à l’imaginaire d’un peuple et de son importance dans ses processus de conciliation des conflits. L’objectif est donc de comprendre les nombreuses réinterprétations du Grand Dérangement issues des discours des élites politiques acadiennes, mais aussi de démontrer le rôle structurant du mythe dans la construction de l’identité acadienne. The expulsion of the Acadians from their land in 1755 is an event which defined this community. The “Grand Dérangement”, or Great Upheaval, long ago made the passage from historical event to collective memory and from collective memory to myth. Officially raised to the level of a founding myth during the first Acadian National Convention of 1881, the Great Upheaval has been subject to several political reinterpretations. Using Gérard Bouchard’s theory of collective myths and imaginaries, this thesis aims to understand the historical reinterpretations of the Great Upheaval myth within the Acadian elite national discourse between 1763 and 2005. To appreciate the power of the myth is to appreciate the power of a people’s imagination and its potential for resolving conflict. The objective of this thesis is to understand the many reinterpretations of the Great Upheaval through the Acadian elite political discourses, and also to demonstrate the role of the myth in constructing the Acadian identity.