Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-01-03T12:49:19Z No. of bitstreams: 1 TeseMCD.pdf: 1564245 bytes, checksum: fbb9eb1099a1b38351371c97e8e49bb4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2017-01-16T16:47:27Z (GMT) No. of bitstreams: 1 TeseMCD.pdf: 1564245 bytes, checksum: fbb9eb1099a1b38351371c97e8e49bb4 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2017-01-16T16:47:38Z (GMT) No. of bitstreams: 1 TeseMCD.pdf: 1564245 bytes, checksum: fbb9eb1099a1b38351371c97e8e49bb4 (MD5) / Made available in DSpace on 2017-01-16T16:47:46Z (GMT). No. of bitstreams: 1 TeseMCD.pdf: 1564245 bytes, checksum: fbb9eb1099a1b38351371c97e8e49bb4 (MD5) Previous issue date: 2016-01-04 / Não recebi financiamento / NELL is a computer system that has the goal of learn to learn 24 hours per day, continuously and learn more an better than the last day, to perform the knowledge base (KB). NELL is running since January 12 of 2010. Furthermore, NELL goals is have hight precision to be able to continue the learning. NELL is developed in macro-reading context, because this NELL needs very much redundancy to run. The first step to run NELL is to have an big (all-pairs-data). An all-pairs-data is a preprocessed base using Natural Language Processing (NLP), that base has all sufficient statistics about a corpus of web pages. The proposal of this project was to create a instance of NELL (currently in English) in Portuguese. For this, the first goal was the developing an all-pairs-data in Portuguese. The second step was to create a new version of Portuguese NELL. And finally, the third goal was to develop a coreference resolution hybrid method focused in features semantics and morphologics. This method is not dependent of a specific language, it is can be applied for another languages with the same alphabet of Portuguese language. The NELL in Portuguese was developed, but the all-pairs-data is not big enough. Because it Portuguese NELL is not running for ever, like the English version. Even so, this project present the steps about how to develop a NELL in other language and some ideas about how to improve the all-pairs-data. By the way, this project present a coreference resolution hybrid method with good results to NELL. / A NELL é um sistema de computador que possui o objetivo de executar 24 horas por dia, 7 dias por semana, sem parar. A versão atual da NELL foi iniciada em 12 de Janeiro de 2010 e continua ativa. Seu objetivo é aprender cada vez mais fatos da web para popular sua base de conhecimento (Knowlegde Base - KB). Além de aprender cada vez mais, a NELL também objetiva alcançar alta confiança no aprendizado para garantir a continuidade do aprendizado. A NELL foi desenvolvida e atua no contexto da macroleitura, no qual é necessária uma grande quantidade e redundância de dados. Para que o sistema possa aprender, o primeiro passo é criar uma base preprocessada (all-pairs-data) a partir do uso de técnicas linguísticas. O all-pairs-data deve possuir todas as estatísticas suficientes para a execução da NELL e também deve ser de um tamanho suficientemente grande para que o aprendizado possa ocorrer. Neste projeto, foi proposta a criação de uma nova instância da NELL em português. Inicialmente foi proposta a criação de um all-pairs-data e, em seguida, a criação de uma abordagem híbrida para a resolução de correferências independente de língua por base em características semânticas e morfológicas. A proposta híbrida objetivou aperfeiçoar o processo atual de tratamento de correferências na NELL, melhorando assim a confiabilidade no aprendizado. Todas as propostas foram desenvolvidas e a NELL em português obteve bons resultados. Tais resultados evidenciam que a leitura da web em português poderá se tornar um sistema de aprendizado sem-fim. Para que isso ocorra são também apresentadas as futuras abordagens e propostas. Além disso, este projeto apresenta a metodologia de criação da instância da NELL em português, uma proposta de resolução de correferência que explora atributos linguisticos,bem como a ontologia da NELL, além de apontar trabalhos futuros, nos quais inclui-se processos de adição de outras línguas na NELL, principalmente para aquelas que possuem poucas páginas web disponíveis para o aprendizado.

The phrase “sweet sixteen and never been kissed” refers to the innocence of childhood and the coming of age of children. It also relates to the increased need for autonomy by adolescents. However, it is highly improbable that the average child in South Africa, when reaching the age of sixteen years, has never been kissed. Children’s rights are categorised as rights of protection (the state and parents have a duty to protect children from sexual abuse and exploitation) and rights of autonomy. The Choice on Termination of Pregnancy Act 92 of 1996 provides for the right of female children of any age to consent to the termination of a pregnancy if all the requirements are met. In terms of the Children’s Act 38 of 2005, persons who are responsible for the care of a child must guide, advise and assist such child. A child must have access to information regarding sexuality and reproduction, and has clear rights from a young age with regard to consenting to medical treatment and HIV testing, as well as to access to contraceptives. Sections 15 and 16 of the Criminal Law (Sexual Offences and Related Matters) Amendment Act 32 of 2007 deal with consensual sexual acts with adolescents - a person who commits a sexual act with an adolescent is, despite the consent of such adolescent, guilty of an offence. Adolescents and children between the ages of sixteen and eighteen years can also be offenders. There is an obligation on a person with knowledge of a sexual offence that has been committed to report same to the South African Police Service. The particulars of a convicted person must be inserted in the National Register for Sex Offenders. These reporting obligations limit the child’s rights to consent to the termination of a pregnancy, to access contraceptives and confidential contraceptive advice and to consent to HIV testing. It also limits the ability of adults to provide children with sex education, advice and guidance. The court in the The Teddy Bear Clinic for Abused Children and RAPCAN v Minister of Justice and Constitutional Development and National Director of Public Prosecutions (73300/2010) [2013] ZAGPPHC 1 (4 January 2013) found that certain sections of the Sexual Offences Act are unconstitutional. However, three main issues remain unaddressed. Firstly, the above-mentioned provisions in the Choice on Termination of Pregnancy Act and the Children’s Act still send out contradictory messages, leading to legal uncertainty. Secondly, the diversion provisions of the Child Justice Act 75 of 2008 are not, in totality, relevant to consensual sexual acts between children, and expose children to the criminal justice system. Thirdly, the reporting provisions of the Sexual Offences Act pose serious challenges. To address the above, it is recommended that the state should embark on a nation-wide information campaign, the national statutory and institutional framework should be reviewed, rationalised and aligned, information relating to the appropriate education of children should be disseminated, and the reporting requirement in the Sexual Offences Act be amended. / Dissertation (LLM)--University of Pretoria, 2013. / gm2014 / Private Law / UPonly

The purpose of this thesis is to examine the filmography of Korean filmmaker Bong Joon-ho [Pong Chun-ho], and to provide a limited textual analysis of each film divided across two categories: the “explicitly ecological” and “implicitly ecological”. The intent is to, by viewing all of Bong’s films leading up to his critical and commercial success Parasite, argue that Parasite is as much an environmental film as it is critical of neoliberalism and globalization, both of which are common readings of not only Parasite, but all of Bong’s work.The findings are that while Parasite avoids overt and exaggerated displays of eco-destruction visible in his Sci-fi films, the film still displays a conscious environmental awareness. The rainstorm featured in the second act of the film can be viewed not only through a local lens as an example of the dichotomy between wealthy and poor families in South Korea as it pertains to environmental crises, but as a microcosm of how climate change stands to impact the financially disenfranchised across the globe as climate shifts continue to grow. / Syftet med denna uppsats är att undersöka den koreanska regissören Bong Joon-hos filmografi och genom en begränsad analys av varje enstaka film, uppdelade i kategorierna ”explicit ekologiska” och ”implicit ekologiska” filmer. Avsikten är att genom en genomgång av alla Bongs filmer upp till publik och kritikersuccén Parasit argumentera för att Parasit är lika mycket en ekologisk film som den är en kritik av globalisering och neoliberalism, uppfattningar som förekommer ofta när det Bongs filmer diskuteras.Slutsatsen är att även om Parasit undviker lika storskaliga och överdrivna exempel av ekologisk förstörelse som i hans science-fictionfilmer så visar filmen fortfarande upp en ekologisk medvetenhet. Regnstormen som förekommer i filmens andra akt kan ses inte bara som ett exempel på skillnaden på hur rika och fattiga familjer i Sydkorea hanterar ekologiska kriser, men kan även tolkas som ett mikrokosm av hur klimatförändringar kommer påverka de finansiellt utsatta världen över allteftersom de förvärras.

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Der folgende Text bezieht sich auf Ereignisse im Jahr 2015, als die Straßen und Plätze Europas mit temporären Camps und Demonstrationen von Geflüchteten besetzt waren. Gleichzeitig mit der Überforderung, dem Versagen der staatlichen Institutionen bei der Sicherung der Grundbedürfnisse der Ankommenden, gab es massive Mobilisierung freiwilliger Unterstützung sowie neue Formen der Selbstorganisation und zahlreiche lokale Solidaritätsinitiativen. Als Teil der Berliner Gruppe metroZones habe ich im Jahr 2015 – unabhängig, aber doch parallel zu den Ereignissen an den Grenzen und in den Zentren Europas – das Modellprojekt „metroZones Schule für städtisches Handeln“ konzipiert und koordiniert. Die Idee der Schule war es, stadttheoretische Ansätze mit Methoden der Stadtforschung und aktivistischen Praktiken zusammenzubringen, sie zu diskutieren und zu erproben, mit dem Ziel die Stadtgesellschaft aktiv mitzugestalten. Im November 2015 verband sich die „metroZones Schule“ mit der damals aktuellen Situation der Geflüchteten bei der Demonstration „Never Mind the Papers“ an einem Wochenende in Hamburg.

It all began in the village. We would wake up with the sun, we would rest our laboured bodies underneath the moon. Gli vecchi (old folks) often told us: “In the end, all that will remain is our story. Nothing else really matters.” This thesis “Awakening the Calabrian Story: The Diverse Manifestations of Acquiring Knowledge” will take you into the lives of ten Southern Italian women from Calabria. They will lure you back to their villages: their place of birth, their hearth, to the midst of the olive trees. Their stories will then migrate to Canada, as these women take their first steps on Pier 21. “In the end, all that matters is our stories.” This thesis will give voice to ten Southern Italian women who will tell the world what, to them, matters most. They will tell their tales and pass on the wisdom they have learned along the way. With each breath and each step, they are always growing, never remaining the same. They go along and live out their villages wherever the thread takes them. This thesis itinerary will begin in the village, follow a journey across the Atlantic Ocean to a life in Canada. Chapter One: (Introduction) will outline and describe the background, purpose and objectives, on this journey of awakening. Chapter Two: (Literature Review) will look at pedagogical perspectives in curriculum theory. Chapter Three: (Methodology) will focus on the research methodology applied throughout this thesis process. Chapter Four: (Stories as Data) will lure readers into the personal lives and experiences of participants. Chapter Five: (Interpretation of Stories) will reveal the analysis of acquired knowledge as reported by participants. This thesis itinerary will continue and conclude by the fireside with a collection of Calabrian folktales told by these participants, and translated from the Calabrian dialect into English. / PhD

This item contains the agenda, minutes, and attachments for the Faculty Senate meeting on this date. There may be additional materials from the meeting available at the Faculty Center.

This item contains the agenda, minutes, and attachments for the Faculty Senate meeting on this date. There may be additional materials from the meeting available at the Faculty Center.

This item contains the agenda, minutes, and attachments for the Faculty Senate meeting on this date. There may be additional materials from the meeting available at the Faculty Center.

Marguerite Duras a assurément pensé à la littérature en se mesurant sans cesse à sa production littéraire et plus amplement, à sa production artistique. Littérature, cinéma, théâtre font en effet l’objet d’une réflexion constante chez l’écrivain qui montre par là une tendance certaine pour la pensée théorique. Si Marguerite Duras a pu s’exprimer négativement vis-à-vis de la théorie, c’est parce qu’elle redoute les dérives de l’esprit théorique qui peut parfois se révéler dogmatique. L’adhésion à l’idéologie du PCF d’abord partagée puis contestée, fait ainsi l’objet de sévères critiques qui donneront raison dans son œuvre à des textes littéraires traversés par cette épreuve du théorique doctrinaire. D’autres engagements théoriques et politiques prouveront en revanche incontestablement l’attrait intellectuel de l’écrivain envers une époque qui, entre les années 1960 et 1980, fait avancer le discours de la théorie et notamment de la modernité littéraire. Cette thèse se propose de montrer que la théorie occupe sans cesse l’esprit de l’auteur, qu’elle se révèle particulièrement sous la forme d’une tentation à laquelle l’écrivain ne succombe jamais définitivement, et qui donc revient comme une obsession habiter et interroger son œuvre. Cette tentation s’intègre d’abord à la vie de Duras qui évolue au sein d’une génération fortement politisée et marquée par la pensée critique. Elle saura ensuite s’incorporer à l’activité créatrice de l’auteur et, dès lors, à sa pratique littéraire et artistique. La tentation du théorique suit ainsi deux directions. Elle passe par une aventure publique, sans pour autant jamais témoigner d’une voix chorale désireuse de se joindre notamment aux nouvelles tendances du Nouveau Roman. Elle se manifestera plutôt comme une voix solitaire, une voix qui s’exprime à travers la confidence privée. Cette voix murmure dans son œuvre ses critères conceptuels personnels qui accompagneront néanmoins la modernité littéraire. La voix de la tentation théorique se confondra enfin à la voix poétique de l’auteur qui révélera, à travers un jeu réflexif, la force productive de son écriture. Vouée sans cesse à faire résonner le mouvement du dernier mot, dépassant les cloisons génériques, la puissance créatrice prodigieuse de Marguerite Duras ira nourrir le paysage à plusieurs facettes de son œuvre ainsi que celui de l’Ecriture moderne. / For sure Marguerite Duras always thought about literature by comparing herself to the rest of literature and the artistic production of her time. Indeed, literature, cinema and theater are the reflexive centers of a constant thinking which shows how much theory is a main issue for the writer herself. Her apparent and negative odds against theory in general are all because of the wanderings of the dogmatic way of the theoretical spirit. Being an active member of the French Communist Party (PCF), sharing its ideological point of view and then quitting it made way for a severe criticism and gave to her literary works a doctrinal trial. Others theoretical and political commitments may decidedly show in contrast her intellectual attraction of the writer for her age which, between the 1960s and the 1980s, made theory and literary modernity look forward. This essay will show how theory is always on Duras’s Mind as it is for her such a temptation that she never totally succumbs to, and that came back as an obsession to haunt and question her works. This temptation marks at first place her life that went through a harsh political generation that also dealt with criticism and thinking. This temptation would also be an important part of her creativity process and made her way unto literary and artistic technicals. The Theoretical temptation she dealt with went on two different ways. She went on a public adventure but without never belonging to the chorus of her times or explicitly belonging to the New Novel too. She stood as a solitary voice, a voice of her that expressed herself as a intimate confidence. This voice whispered in her writings her personal and conceptual thoughts that escorted modernity in literature. Her voice made of theoretical temptation would mingle at last with her poetical voice which reveals, through a reflexive game, the productive strengh of her writing. Vowed to a never-ending movment unto the last word, beyond the walls of all genres, the tremendous creativity of Marguerite Duras will give birth to a mesmerizing landscape in her works that goes unto the modern writing.