[pt] Este trabalho tem como objetivo analisar, por um viés específico, The Pilgrim s Regress (1933), primeiro livro de ficção do escritor irlandês, C. S. Lewis (1898-1963). A obra é frequentemente relacionada à experiência de conversão do autor ao cristianismo, mas nessa pesquisa buscam-se por outras interpretações, para além da mera autobiografia alegórica. Pretende-se, portanto, demonstrar que Lewis escreve uma alegoria obscura inserido num importante debate, posterior à Primeira Guerra Mundial (1914-18), sobre a natureza da linguagem. Neste caso, o autor apresenta, dentro da narrativa, ideias que circulavam nos meios acadêmicos de Oxford e Cambridge e que dificilmente são notadas pelo leitor desavisado. Um dos aspectos marcantes do pós-guerra foi exatamente a mudança que se operou na forma como as pessoas passaram a olhar para a linguagem. Apesar de não haver ainda uma mídia tão sofisticada quanto a existente na Segunda Guerra Mundial (1939-45) – como o rádio ou a televisão – ainda assim, jornais, livros, panfletos, imagens e canções serviram aos propósitos propagandísticos durante a Primeira Guerra. Portanto, a ideia de um combate travado não apenas com armas, mas também por meio da linguagem, se tornou assente tanto para os que viveram naquele período quanto para os que se dedicaram a estudá-lo. Obviamente, ao perceberem-se os perigos da propaganda e do uso da linguagem como veículo do ideário de guerra, abre-se espaço para uma série de questionamentos quanto a objetividade da língua no contexto da informação e de obras literárias. / [en] The present study aims to analyze, from a specific standpoint, The Pilgrim s Regress (1933), first fiction book by the Irish writer C. S. Lewis (1898-1963). This work is often related to the author s conversion experience to Christianity, and this study aims further interpretations beyond mere allegorical autobiography. One of its objectives is to show how Lewis writes his obscure allegory within an important debate about the nature of language, after the World War I (1914-18). Then, the author presents, in his narrative, ideas which are commonly expressed inside scholarly discussions in Oxford and Cambridge and scarcely noted by the unwary reader. One of the most important post-war aspects was exactly the shift on how to understand language. Although there was no sophisticated media as the World War II s – television, or radio for instance – newspapers, books, pamphlets, images and songs were used to convey war propaganda, in the WWI. Therefore, the idea behind a combat fought not only with arms but also trough language took place among those who lived that period in time and who decided to study it. Certainly, many questions could be raised about language objectivity as source of reliable information and its use in the context of literature, when the underlying dangers of such way to handle language is exposed. In The Pilgrim’s Regress one could see the author positioning himself before this controversy about the nature of language, situated between WWI and WWII.

[pt] A Freedom House, instituição estadunidense, reportou 2019 como o décimo quarto ano seguido de recessão democrática mundial, uma crise que ressuscita a discussão acerca do conceito usado para denominar esses movimentos antidemocráticos. Muito se fala que eles seriam novas versões de um fascismo, a despeito de características distintas em cada manifestação. O semiólogo italiano Umberto Eco antecipou essa questão e criou um conceito que busca resolver essa problemática: Ur-Fascismo. O Ur-Fascismo é o fascismo que nunca acaba, que se reconstrói, se retrabalha, se adequa a cada época, dado seu caráter infinito. As distintas aparições do fascismo não se limitam à política da realidade: a política da ficção tratou de apresentá-lo de diversas formas. Partindo da discussão de uma base teórica sobre teoria política, em particular sobre o Ur-Fascismo, será possível perceber como a ficção tratou aparições e características desse fenômeno, tomando, para isso, dois objetos: Não vai acontecer aqui, de Sinclair Lewis, e Ele está de volta, de Timur Vermes. Assim, será possível trabalhar as idiossincrasias dos Ur- Fascismos dessas ficções, suas diferenças e similitudes, em consoante com as bases da teoria política e, no processo, expandir tanto o estado da arte sobre literaturas do Ur-Fascismo, quanto contribuir à discussão sobre um fenômeno político pouco compreendido. Por fim, encerra-se com uma discussão, a partir da ideia de vaga-lumes de Pasolini e Didi-Huberman, sobre a importância da arte, em especial a arte antifascista, na luta contra o Ur-Fascismo. / [en] Freedom House, an US institution, reported 2019 as the fourteenth year in a row of a global democratic recession, a crisis that resuscitates the discussion about the concept used to name these anti-democratic movements. Much is said that they would be new versions of fascism, despite different characteristics in each manifestation. Italian semiologist Umberto Eco anticipated this issue and created a concept that seeks to resolve this issue: Ur-Fascism. Ur-Fascism is fascism that never ends, that is reconstructed, reworked, adapted to each era, given its infinite character. The different appearances of fascism are not limited to the politics of reality: the politics of fiction tried to present it in different ways. Starting from the discussion of a theoretical basis on political theory, in particular on Ur-Fascism, it will be possible to perceive how fiction treated apparitions and characteristics of this phenomenon, taking, for this, two objects: It can t happen here, by Sinclair Lewis, and Look who s back, by Timur Vermes. Thus, it will be possible to work on the Ur-Fascism idiosyncrasies of these fictions, their differences and similarities, in line with the bases of political theory and, in the process, expand both the state of the art on Ur-Fascism literatures and contribute to the discussion on a little understood political phenomenon. Finally, it ends with a discussion, based on the idea of fireflies, developed by Pasolini and Didi-Huberman, about the importance of art, especially anti-fascist art, in the fight against Ur- Fascism.

Purpose Robotic-assisted minimally invasive esophagectomy (RAMIE) has become one standard approach for the operative treatment of esophageal tumors at specialized centers. Here, we report the results of a prospective multicenter registry for standardized RAMIE. Methods The German da Vinci Xi registry trial included all consecutive patients who underwent RAMIE at five tertiary university centers between Oct 17, 2017, and Jun 5, 2020. RAMIE was performed according to a standard technique using an intrathoracic circular stapled esophagogastrostomy. Results A total of 220 patients were included. The median age was 64 years. Total minimally invasive RAMIE was accomplished in 85.9%; hybrid resection with robotic-assisted thoracic approach was accomplished in an additional 11.4%. A circular stapler size of ≥28 mm was used in 84%, and the median blood loss and operative time were 200 (IQR: 80–400) ml and 425 (IQR: 335–527) min, respectively. The rate of anastomotic leakage was 13.2% (n=29), whereas the two centers with >70 cases each had rates of 7.0% and 12.0%. Pneumonia occurred in 19.5% of patients, and the 90-day mortality was 3.6%. Cumulative sum analysis of the operative time indicated the end of the learning curve after 22 cases. Conclusions High-quality multicenter registry data confirm that RAMIE is a safe procedure and can be reproduced with acceptable leak rates in a multicenter setting. The learning curve is comparably low for experienced robotic surgeons.

Der Fokus dieser Dissertation lag in der Untersuchung des Potentials von Aluminium-chlorofluorid (ACF) als Katalysator für die Synthese von fluorierten Verbindungen. Insbesondere die C−F-Aktivierung von verschiedenen polyfluorierten Stoffen wurde untersucht, welches die Effizienz des festen Lewis-Säure-Katalysators für diesen Reaktionstyp zeigte. Das potente Treibhausgas 2-Chlor-1,1,1,2-tetrafluorpropan wurde erfolgreich in das dehydrofluorierte Produkt. Weiterhin wurden Umsetzungen von Pentafluorpropan-Isomeren wie z.B. 1,1,1,3,3-Pentafluorpropan, 1,1,1,2,2-Pentafluorpropan und 1,1,1,2,3-Pentafluorpropan mit ACF als Katalysator untersucht. Es konnte gezeigt werden, dass die Aktivierung der primären CH2F-Gruppe in schnell stattfindet und dabei keine Wasserstoffquelle erfordert. Im Kontrast dazu, wurde für die Aktivierung von CF2-Gruppen eine Wasserstoffquelle wie etwa HSiEt3 benötigt und resultierte in der Bildung eines Produktgemischs. Alternativ wurden Hydrofluorierungsreaktionen von mehreren Substraten durch die Synthese und den Einsatz eines neuen Materials erreicht, welches auf der Immobilisierung von HF auf der Oberfläche von ACF beruht. Dieses HF-ACF wurde unter der Verwendung von vielfältigen Charakterisierungsmethoden umfassend untersucht. Die innere Struktur des Festkörpers, wurden mit MAS-NMR-Spektroskopie, FTIR, Inelastische Neutronenstreuung, XRD und Thermoanalyse analysiert Dadurch konnte gezeigt werden, dass eine geringfügige Reorganisation des bulks zu einer besser geordneten Matrix und die Bildung einer mit der ACF-Oberfläche wechselwirkenden Polyfluorid-Struktur vorliegt. Zur Bestimmung der Oberflächengröße wurde das BET-Modell genutzt und zur Analyse der Porengröße wurde die NLDFT verwendet. Abschließend wurden verschiedene Probeverbindungen an der Oberfläche des HF-ACFs adsorbiert um die Azidität der Oberfläche zu bestimmen und es konnte gezeigt werden, dass eine signifikante Reduktion der Lewis- und Brønsted-Azidität vorliegt. / The main focus of this thesis lies in the study of the potential of aluminum chlorofluoride (ACF) as a catalyst for the synthesis of fluorinated compounds. In particular, C−F bond activations of various polyfluorinated compounds were studied, showing the efficiency of this solid Lewis acid catalyst for this type of reaction. The potent greenhouse gas 2-chloro-1,1,1,2-tetrafluoropropane was successfully transformed into the dehydrofluorination product 2-chloro-3,3,3-trifluoropropene under mild conditions. Similarly, transformation of pentafluoropropane isomers, such as 1,1,1,3,3-pentafluoropropane, 1,1,1,2,2- pentafluoropropane and 1,1,1,2,3-pentafluoropropane was also investigated using ACF as a catalyst. It was evidenced that the primary CH2F group present in 1,1,1,2,3-pentafluoropropane was easily activated without the need for a hydrogen source. In contrast, to activate CF2 groups, a hydrogen source such as HSiEt3 was required, generating a variety of products. Alternatively, successful hydrofluorination reactions of several substrates were conducted by synthesizing a new material, based on the loading of hydrogen fluoride (HF) at the surface of ACF. This HF-loaded ACF was deeply studied using a wide range of characterization methods. For the bulk, MAS NMR spectroscopy, Fourier Transform Infrared spectroscopy (FTIR), Inelastic Neutron Scattering (INS), Powder X-Ray Diffraction (P-XRD), and thermoanalysis were performed, revealing a slight reorganization of the bulk towards a better-ordered matrix and the formation of polyfluoride structure interacting with the surface of ACF. The BET model was used for the surface area determination, and the pore size analysis was established using the non local density functional theory (NLDFT). Finally, various probe molecules were adsorbed at the surface of HF-loaded ACF to determine the acidity of the surface, revealing a significantly reduced Lewis and Brønsted acidity.

Syftet med denna studie är att jämföra C.S. Lewis bok Kung Caspian och skeppet Gryningen och filmen med samma namn för att se vilka skillnader och likheter som finns mellan båda medierna. En narrativ analys och en komparativ analys har genomförts. Fyra frågeställningar har varit underlag för analysen, vilka är:• Vad har förändrats, lagts till eller tagits bort vid filmatiseringen av boken som är mest uppenbart?• Vilka skillnader och likheter finns mellan karaktärerna i bok och film?• Vilka skillnader och likheter finns mellan tre utvalda scener i bok och film?• Hur påverkar förändringarna berättelsens tematik?Resultaten visar att den mest uppenbara skillnaden mellan de olika medierna är att bokens huvudsyfte är att finna de sju försvunna riddarna medan filmen har vinklat det till att finna de sju svärden som tillhört riddarna. Karaktärernas framställning liknar varandra med en liten avvikelse på Lucy och Ripipip och att de tre scenerna utspelar sig i olika ordning jämfört med boken. Berättelsens tema är dock detsamma i både boken och filmatiseringen. I undervisningssyfte är både boken och filmen användbara i undervisningen för årskurs 4-6 i det svenska språket. / The aim of this study is to compare C.S. Lewis's book Voyage of the Dark treader and the movie with the same name to see what differences and similarities there is between both medias. A narrative analysis and a comparative analysis have been implemented. Four issues have been the basis for the analysis, which are:• What has been the most obvious change when filming the book?• What are the differences and similarities between the characters in the book and the movie?• What differences and similarities exist between three selected scenes in the book and in the movie?• How do the changes affect the story's theme?The results show that the most obvious difference between the various media is that the main purpose of the book is to find the seven lost knights while the movie has angled it to find the seven swords that belonged to the knights. The characters' portrayal is similar to each other with a slight divergency from Lucy and Ripipip and the three scenes take place in different order compared to the book. However, the theme of the story is the same in both the book and the movie. For educational purposes, both the book and the movie are useful in teaching in the school subject Swedish for grades 4-6.

This thesis examines representations of sensation within modernist novels alongside contemporary philosophical debates over the concept of qualia. Concentrating on the work of Virginia Woolf, James Joyce, Percy Wyndham Lewis, and Samuel Beckett, it confronts a longstanding critical tradition that has tended to obscure or misunderstand the implications of arguments made by philosophers of mind in relation to literary descriptions of sensation. That the mind is a thing, and that modernist narrative fiction is particularly successful at representing that thing, has become a critical commonplace. In this thesis I argue that interpretations of modernism’s supposed ‘inward turn’ are founded on a mistaken notion of ‘cognitive realism’, a critical position endorsing the idea that it is both possible and desirable to describe the mind (conceived of as a stable and unchanging object) without loss through the development and judicial deployment of new literary techniques. The myth of the inward turn in its various incarnations – the psychologised modernism described by many literary critics in the 50s and 60s, and the neuromodernism subscribed to by many contemporary critics – is, I argue, largely the result of a set of inter-linked misconceptions which attend the cognitive realist paradigm. The notion of qualia is central to my thesis. Defined as the ineffable, irreducible, and subjective properties of conscious experience, qualia emerge concomitantly with modernism, developing out of G. E. Moore’s definition of ‘sense-data’ and Bertrand Russell’s category of ‘sensibilia’. Though still disputed within contemporary philosophy, qualia create huge problems for materialist theories of consciousness, threatening to undermine critical approaches to literature which contend that formal literary strategies can ever hope to transcend the limitations of symbolic language in conveying sensation. The ‘problem’ of qualia referred to in this thesis, therefore, is the problem the concept poses for symbolic descriptions (either mathematic, psychological, or literary) of mental states, especially when those descriptions make special claims (or are interpreted as making special claims) of mimetic veracity. The problem emerged within philosophy at precisely the point at which the representative claims of literature came under direct attack. This thesis argues, therefore, that it is a profoundly literary problem, and that the absence of ‘sensation’ from the written is simply a manifestation of the inherent limitations of language. A critical tendency to re-insert sensory experience into the process of reading – through phenomenological interpretations of modernism, or in contemporary ‘neuroaesthetic’ approaches to literature – thus point to a general anxiety that manifests itself most forcefully in relation to modernist fiction’s ability to ‘write’ sensation. This thesis employs the concept of qualia as a way of contextualising narratives of the mind – philosophical, literary and scientific – from the period. In doing so it seeks to historicise modernism’s ‘crisis of the senses’; locating this argument in a broader theoretical space and questioning the relevance (and novelty) of contemporary approaches to reading the senses in modernism.

Since the 1960’s there has been a marked increase in the number of known conversions from Islam to Christianity. This thesis asks whether certain of these ex-Muslim Christians engage in the process of theology-making and, if so, it asks what these theologies claim to know about God and humans’ relation to God. Utilizing the dialectic of contextuality-contextualization of Shoki Coe, and the sociology of theological knowledge of Robert Schreiter, the thesis seeks to answer these questions by the use of two case studies and an examination of some of the texts written by ex-Muslim Christians. Lewis Rambo’s theory of religious conversion and Steven Lukes’ theory of power will be used to clarify the changing dynamics of power which have helped to foster modern contexts wherein an unprecedented number of Muslims are both exposed to the Christian message and, if they choose to do so, able to appropriate it through religious conversion. The two case studies are of a Christian community which founded a Muslim-background church in the Arabophone world and some Iranian Christian congregations in the USA and UK Diaspora. Aspects of the contexts of these believers are investigated in some detail, including motives for religious conversion, numbers and locations of the converts, how apostates may be treated by Muslims, changes in migration and communications, and the Christian concept of religious conversion. The concept of inculturation which helps to describe the meeting of a specific community with the Christian message will aid in analyzing the communities and individuals being studied. The final chapter brings together the various threads which have been raised throughout the thesis and argues that ex-Muslim Christians are engaged in theology-making, that areas of interest to them include theology of the church, salvation and baptism, and that the dominant metaphor in these theologies is a conceptualization of love and power that sees the two divine traits as inseparable from each other; they represent a knowledge about who God is and what he is like, which, in their understanding, is irreconcilable with their former religion, Islam.

No description available.

The Bucherer-Bergs reaction is a classical multi-component reaction that yields hydantoins, which can be hydrolysed to afford α-amino acids. Hydantoins have many uses in modern organic synthesis, and this moiety has been included in a number of therapeutic agents, which have a wide range of biological activities. Herein, we report a mild synthesis of 5- and 5,5-substituted hydantoins from α-aminonitriles using Hünig’s base and carbon dioxide. This reaction can be performed in excellent yields, using a variety of organic solvents and is applicable to a range of substrates. In an extension to the above methodology, a one-pot Lewis acid-catalysed synthesis of hydantoins from ketones has also been developed and optimised in organic media. This reaction can be performed in excellent yields and is suitable for the synthesis of 5- and 5,5-substituted hydantoins.

An introduction to Alice scholarship, including a brief biography of the author Charles Lutwidge Dodgson, under the pseudonym Lewis Carroll, as well as the subject matter. An examination of Alice's Adventures in Wonderland's genre, as well as an in-depth analysis of the text as a children's story.