Dans l’école des Tenants des anciennes traductions, les rNying ma pa-s, on trouve, en plus de la lignée de transmission orale dite longue (ring brgyud bka’ ma), une lignée de transmission courte des trésors (nye brgud gter ma). Par « trésors », on entend des textes qui auraient été cachés par Padmasambhava et ses disciples et qui, au moment où les circonstances l’exigent, sont redécouverts par des religieux prédestinés : les gter ston-s. Ceux-ci sont des milliers mais seuls certains d’entre eux, les cinq rois gter ston-s, font autorité pour authentifier un trésor et son découvreur. Le quatrième d’entre eux, Padma gling pa (1450-1521), naquit au Bhoutan où il œuvra et établit des centres religieux. Il étendit également sa sphère d’influence au Sud du Tibet où il fonda l’un de ses monastères principaux : Lha lung. Après sa mort, sa tradition spirituelle continua de se développer grâce à trois lignées d’incarnations. Bien loin de là, dans l’Ouest de l’Himalaya, la tradition rituelle de ce gter ston est encore aujourd’hui pratiquée dans la Vallée des nuages au Spiti. Jusqu’à présent, l’introduction de cette tradition, si éloignée de son lieu d’origine, reste mystérieuse. La présente étude vise, après avoir évoqué le cadre historique de la Vallée, à reconstituer dans un deuxième temps, grâce à des manuscrits que l’on croyait un temps perdus ainsi qu’à la tradition orale, l’histoire de cette tradition religieuse depuis son introduction jusqu’à nos jours. Dans un troisième temps, ce travail expose les pratiques et le calendrier rituel de la Vallée. Enfin, la dernière partie est consacrée au Rituel des vivants (gSon chog), rituel incontournable des habitants de la Vallée. / In the school of the Followers of the old translations, the rNying ma pa-s, there is not only the Long lineage of the oral transmission (ring brgyud bka’ ma) but also the Short lineage of the treasures (nye brgyud gter ma). “Tresaures” are texts that were hidden by Padmasambhava and his disciples and discovered by predestined religious figures : the gter ston-s, when the circumstances so require. Those gter ston-s are thousands but only few of them, the five gter ston-s kings are recognized authority who can authentify a treasure and its discoverer. The fourth of them Padma gling pa (1450-1521), was born in Bhutan where he built several important religious complexes. During his life time, he extended his influence to the South of Tibet where he founded one of his main monasteries : Lha lung. After his death, his tradition continued to develop thanks to three incarnation lineages. On the western part of the Himalaya, in the Clouds Valley, in Spiti, the ritual tradition of this gter ston is nowadays still practiced. Until recently, the introduction of this ritual tradition far from its place of origin, remained quite a mystery. After an evocation of the historic context, the present study attempt, secondly, thanks to old manuscripts that were supposed to be lost and thanks to the oral tradition, to redraw the history of this religious tradition from its origin until now. Thirdly, this work exposes the practices and the religous agenda of the Valley. Finally, its last part focus on the Ritual of the living beings (gSon chog) which is a key ritual in the life of the inhabitants of the Valley.

Ma Shou-chen, poet, calligrapher and painter was a courtesan of the Ming dynasty. By studying the life and works of Ma Shou-chen, who was not a member of either the scholar or the academic/professional class of artists but who was very desirous of conforming to literati aesthetic tastes in her artistic works, new light is thrown upon the problem of identifying new aspects of Ming dynasty literati aesthetic taste. A study of Ma Shou-chen’s works illuminates the question of identifying qualities of literati painting and also serves to examine the question of female artists in China. Female artists were known for their weak brush stroke and other negative qualities. Was this true, or was the "conventional wisdom" based on an attitude toward a female's social position rather than her ability as an artist? Ma Shou-chen provides us with a good example for examining these points. She is well-known in Chinese art history, yet she is discussed by Siren largely in sections restricted to female artists. In Chinese biographies too, mention of Ma Shou-chen is included with other female artists. The purpose of this thesis is to discuss a limited, though it is felt, a representative cross-section of her works with the aim of determining Ma Shou-chen’s place in art history. In Section I, biographical data concerning Ma Shou-chen is discussed. This includes an estimate of her active period (1570-1604). Her relationship with Wang Chih-teng, a leading literatus of the Suchow area, is examined together with an exploration of the relationship of special courtesans to the literati as a class. What this meant in Chinese society and the repercussions on the artistic output of courtesans is also discussed. Section II includes a discussion of the Chinese historical records which comment on Ma Shou-chen's works. There is also an exploration of the reason why certain artists and not others were named in records as having an influence on Ma Shou-chen's works. A brief discussion of the history of Chinese flower painting explains the relevance of placing Ma Shou-chen's works within the framework of literati rather than academic artists' works. A discussion of the critical comments regarding Ma Shou-chen's works by Chinese art historians gives rise to the possibility that critical comments were often based more upon social status than actual works. In Section III an analysis of Ma Shou-chen's artistic works, largely concerned with her speciality of orchid paintings, shows an historical process. However, there is no final classification of her undated works. In addition, the typical qualities of her works involves rather stable compositions, a propensity for stretching the brush strokes across the surface of the painting, little concern with atmospheric qualities or far distance. These facts serve to enhance the two dimensional quality of her paintings. This factor in turn serves to focus the attention of the viewer upon Ma Shou-chen's calligraphy. Section IV discusses the findings of the analysis of Ma Shou-chen's works in relation to Ming dynasty literati artists. This thesis concludes with the theory that smaller and more intimate literati works are more representative of the main- stream of literati artists in the Ming dynasty. The works of Ma Shou-chen, who was trained to respond to literati tastes and was an accomplished artist, show the more relaxed social atmosphere of the Ming dynasty. Two appendices are included. The first is a catalogue of the works of Ma Shou-chen discussed in this thesis. The second is a translation of the Chinese literary sources concerning Ma Shou-chen. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

京都大学 / 0048 / 新制・課程博士 / 博士(農学) / 甲第21813号 / 農博第2326号 / 新制||農||1066(附属図書館) / 学位論文||H31||N5185(農学部図書室) / 京都大学大学院農学研究科応用生物科学専攻 / (主査)教授 左子 芳彦, 教授 澤山 茂樹, 准教授 吉田 天士 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DFAM

In this collection of short stories, I abduct experiences from my own life and take them on an imaginative journey. I experiment with elements of structure and point of view, often incorporating the magical or surreal to amplify the narrator’s internal landscape. As demonstrated in the title story, “Almost Astronauts,” these stories all deal with a sudden and sometimes destructive shift in the narrator’s perspective.

This thesis is an attempt to understand the concept of ma 間 as it appears traditionally in Japan and how it may be applied to literature as an analytical framework. Ma is most simply defined as an empty space, but has a long history of artistic connotations in various fields, such as architecture, music, and poetry, that may theoretically be applied to literature as well. First, I look at the historical and theoretical background of the concept of ma as it exists in the visual, musical, and literary arts. I consider how ma was first used when it was developed in the eighth century, how it was used prior to World War II, and how it has been used since World War II. I also look at Western theories that I believe could be used to further analyze the concept of ma – namely, the Iceberg Theory and the study of hermeneutics. I use the information in this portion to develop my thesis statement: that ma as an aesthetic term is primarily concerned with encouraging audience participation with the piece of art and that such participation with literature can be facilitated by certain writing techniques, including use of symbolism, juxtaposition, and understatement. Then, I look more closely at three works that I consider prime examples of ma in literature: Takekurabe by Higuchi Ichiyō, Yukiguni by Kawabata Yasunari, and Riaru wārudo by Kirino Natsuo. These works span a wide time range – from the late 1800s to the early 2000s – but all contain themes of disconnect, transition, and confusion, as well as specific writing techniques, that encourage reader participation through introspection. Additionally, I have included a glossary at the end for any Japanese words, with their hiragana and kanji counterparts, that a reader might be unfamiliar with.

Metalinguistic awareness (MA) in the context of the present study is the ability to deconstruct and analyze a language's intricate systems, and by doing so, better understand how these systems work. More specifically for the present study, the investigation focused on preservice teachers' MA in relation to grammar and its importance for their future students' understanding of language. Language is at the core of any content area in students' academic lives and it will continue to permeate all aspects of their studies at all ages. As such, language-related issues should be at the front and center of preservice teachers' preparation. The present study, a quasi-experimental one-group pretest-posttest (Shadish, Cook & Campbell, 2002) investigated the metalinguistic awareness of preservice teachers who were enrolled in a face-to-face, undergraduate applied linguistics course at an urban research university in the United States. The metalinguistic awareness in the scope of the present study was directly related to the grammar knowledge of participants, and it was measured by an adapted instrument called ALAT. The results of the current study demonstrate that overall increase of MA is feasible (as attested by the results from research question 1). Nevertheless, further investigations (research questions 2, 3, 4, and 5) demonstrated that teachers' levels of metalinguistic awareness vary significantly. These results echoed previous findings that demonstrated that preservice teachers are not language-knowledgeable enough to deal with myriad issues that involve language, both in relation to students who are native speakers of English and also concerning ELs (Kolln & Hancock, 2005; Nutta et al., 2012; Pappamihiell, 2007). Preservice teachers' lack higher level metalinguistic awareness, as evidenced by their limited ability to explain grammar errors and use proper metalanguage while doing so. The main implication of the present study lies in the recommendation that more can and should be done in order to ensure that preservice teachers are receiving the appropriate amount of language-oriented preparation during their college years. The present study offers a confirmatory perspective to previous research findings which found that preservice teachers are not knowledgeable enough in relation to language. Previous studies also pointed out to this lack of preparation as a generator of feelings of inadequacy and anxiety in preservice teachers while foreseeing their future students' language struggles. Nonetheless, the present study also demonstrates that improvement can be achieved in regard to MA teacher preparedness in relatively little amount of time, especially for recognition of grammatical items such as parts of speech and parts of sentence. However, the findings demonstrate that more time is needed to ensure better results for complex grammar analyses such as explanation of grammatical errors.

No description available.

In the early 1970's a new processing technique to produce metallic alloys was developed by Benjamin and co-workers. This novel technique, called Mechanical Alloying (MA), involves the repeated welding, working hardening, and fracture of metallic powders to form an alloy. The research presented in this thesis describes the use of the MA process to form polymer blends. Until recently there has been no published work discussing the possibility of using this technique with polymers. This research lays the ground work for using the MA process to produce polymer blends by comparing this technique to conventional polymer processing techniques. The MA process was used to form blends of polypropylene (PP) and a liquid crystalline polymer (LCP). Samples were prepared and then characterized using thermal analysis via differential scanning calorimetry (DSC) and thermogravimetric analysis (TGA). Mechanical testing, Fourier transform infrared (FTIR) spectroscopy and X-ray diffraction (XRD) were performed on the materials. Scanning electron micrographs (SEM) of fracture surfaces are also presented. The results suggest that the solid state mechanical alloying process is a viable technique to form polymer blends. / Master of Science

Pastor Ivars, J. (2015). MA y OKU. Distancia y profundidad. Ogawa Jihei y el jardín japonés del siglo XIX [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/48539

Fartygets beredskapsbåt är en viktig del i sjöräddningsarbetet för att till exempel rädda en nödställd person ur vattnet, men dessvärre sker olyckor i samband med användandet av denna. Syftet med detta arbete var att undersöka varför olyckor med beredskapsbåtar inträffar, genom att analysera haverirapporter om beredskapsbåtsolyckor ombord på fartyg med anknytning till Europa. 13 rapporter analyserades med hjälp av HFACS-MA-modellen. Metoden kategoriserar orsaker till olyckor och har givit en bild av vilka faktorer som varit de mest frekvent bidragande i de undersökta olycksfallen. Resultatet visade att fel och brister i konstruktionen (av till exempel dävert, krok och säkerhetsbrytare), otillräcklig eller obefintlig dokumentation inom organisationen (checklistor, manualer och instruktioner) och den fysiska arbetsplatsen (hur arbetsplatsen var utformad) var de främsta orsakerna till att olyckor med beredskapsbåtar inträffade. Av resultatet framgick även att kategorin förutsättningar, som till exempel yttre miljö och kommunikation, var en stor bidragande faktor. / The ship's rescue boat is an important part of search and rescue, for example to rescue a person in distress from the water, but unfortunately accidents happen in conjunction with the use of the boat. The purpose of this essay was to investigate why accidents with rescue boats occur by analyzing accident reports involving rescue boat accidents on ships with a connection to Europe. 13 reports were analyzed with the HFACS-MA model. The method categorizes the causes of accidents and has provided a picture of the factors that have been most contributory in the investigated accidents. The result showed that deficiencies in the design (for example davit, hook and breaker), insufficient or nonexistent documentation within the organization (checklists, manuals and instructions) and the function of the physical workplace, were the main reasons for why accidents involving rescue boats occur. The result also showed that the category preconditions, such as the external environment and communication, was a major contributing factor.