The representation of women in prostitution varies over time and space. This study aims to make visual how women in prostitution are being represented in Swedish judicial system today. The study uses a critical discourse analysis, inspired by Fairclough's three-dimensional model, and is based on a theoretical framework of reification theory, theory of respectability and previous research. The study analyzes 68 court verdicts, published in 2018 on the legal database Karnov Juridik, Kvinnifridspropositionen (Prop. 1997/98: 55) and an evaluation of the law's application and effect (SOU 2010: 49). The study makes visible a two-part image of the woman as occasionally invisible and occasionally defined on the basis of prostitution. The study shows how an overall market discursive perspective through the verdicts relates to a focus on the purchase of sex, rather than the parties involved. The study shows that the focus on the woman in prostitution, which was widely criticized and which the law reform intended to shift towards the sex buyers, continues to stay on the women in prostitution. / Framställningen av kvinnor som befinner sig i prostitution har varierat över tid och rum. Denna studie ämnar undersöka hur svenskt rättsväsende framställer kvinnor i prostitution idag. I studien används en kritisk diskursanalys, inspirerad av Faircloughs tredimensionella modell, och utifrån ett teoretiskt ramverk av reifikationsteori, respektabilitetsteori samt tidigare forskning. Studiens empiriska underlag utgörs av 68 domar, publicerade år 2018 på rättsdatabasen Karnov Juridik, kvinnofridspropositionen (Prop. 1997/98:55) och en utvärdering om lagens tillämpning och effekt (SOU 2010:49). I studien synliggörs en tudelad bild av kvinnan som tidvis osynlig och tidvis definierad utifrån prostitution. Studien synliggör hur ett marknadsdiskursivt perspektiv genom domarna påverkar diskursen genom att fokus riktas mot den sexuella tjänster mot ersättning, snarare än de parter som är involverade. Det kritiserade fokus som tidigare inriktades på kvinnan i prostitution ämnade lagreformen att skifta mot männen, sexköparna. I studien framkommer tendenser av ett fortsatt fokus på kvinnorna som befinner sig i prostitution snarare än sexköparna, som framställs som konsumenter inom ett marknadsfenomen.

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Autômatos não-seqüenciais constituem um domínio semântico categorial do tipo não-intercalação para sistemas reativos, comunicantes e concorrentes.É baseado em sistemas de transições etiquetados, inspirado em "Redes de Petri são Monóides" de Meseguer e Montanari, onde as operações de sincronização e encapsulação são funtoriais e as reificações constituem uma classe de morfismos especiais. Do que se tem conhecimento, é o primeiro modelo de concorrência a satisfazer a composicionalidade diagonal, ou seja, onde as reificações compõem (verticalmente) e distribuem-se sobre a composição paralela (verticalmente). Adjunções entre autômatos não-seqüenciais, redes de Petri e autômatos seqüenciais são introduzidas estendendo a abordagem de Winskel, Nielsen e Sassone onde é proposta uma classificação formal para modelos de concorrência. Dos passos que envolvem a passagem de um modelo para outro, pode-se inferir que os autômatos não-seqüenciais são mais concretos do que as redes de Petri e os autômatos seqüenciais. Para experimentar o domínio semântico proposto, é dada semântica a uma linguagem concorrente, baseada nos objetos, denominada Náutilus. Trata-se de uma versão simplificada e revisada da linguagem de especificação orientada aos objetos GNOME, onde são introduzidos algumas facilidades especiais, inspiradas no domínio semântico, como a reificação e a agregação. Neste contexto, a composicionalidade diagonal é uma propriedade essencial para dar a semântica. / Nonsequential automata constitute a non-interleaving categorial semantic domain for reactive, communicating and concurrent systems. It is based on labeled transition systems, inspired by Meseguer and Montanari's "Petri Nets are Monoids", where synchronization and encapsulation operations are functorial and a class of morphisms stands for reification. It is, for our knowledge, the first model for concurrency which satisfies the diagonal compositionality requirement, i. e., reifications compose (vertical) and distribute over the parallel composition (horizontal). Adjunctions between nonsequential automata, Petri nets and sequential automata are provided extending the approach of Winskel, Nielsen and Sassone where a scene for a formal classification of models for concurrency is set. The steps of abstraction involved in moving between models show that nonsequential automata are more concrete than Petri nets and sequential automata. To experiment with the proposed semantic domain, a semantics for a concurrent, object-based language named Nautilus is given. It is a simplified and revised version of the object-oriented specification language GNOME, introducing some special features inspired by the semantic domain such as reification and aggregation. The diagonal compositionality is an essential property to give semantics in this context.

Autômatos não-seqüenciais constituem um domínio semântico categorial do tipo não-intercalação para sistemas reativos, comunicantes e concorrentes.É baseado em sistemas de transições etiquetados, inspirado em "Redes de Petri são Monóides" de Meseguer e Montanari, onde as operações de sincronização e encapsulação são funtoriais e as reificações constituem uma classe de morfismos especiais. Do que se tem conhecimento, é o primeiro modelo de concorrência a satisfazer a composicionalidade diagonal, ou seja, onde as reificações compõem (verticalmente) e distribuem-se sobre a composição paralela (verticalmente). Adjunções entre autômatos não-seqüenciais, redes de Petri e autômatos seqüenciais são introduzidas estendendo a abordagem de Winskel, Nielsen e Sassone onde é proposta uma classificação formal para modelos de concorrência. Dos passos que envolvem a passagem de um modelo para outro, pode-se inferir que os autômatos não-seqüenciais são mais concretos do que as redes de Petri e os autômatos seqüenciais. Para experimentar o domínio semântico proposto, é dada semântica a uma linguagem concorrente, baseada nos objetos, denominada Náutilus. Trata-se de uma versão simplificada e revisada da linguagem de especificação orientada aos objetos GNOME, onde são introduzidos algumas facilidades especiais, inspiradas no domínio semântico, como a reificação e a agregação. Neste contexto, a composicionalidade diagonal é uma propriedade essencial para dar a semântica. / Nonsequential automata constitute a non-interleaving categorial semantic domain for reactive, communicating and concurrent systems. It is based on labeled transition systems, inspired by Meseguer and Montanari's "Petri Nets are Monoids", where synchronization and encapsulation operations are functorial and a class of morphisms stands for reification. It is, for our knowledge, the first model for concurrency which satisfies the diagonal compositionality requirement, i. e., reifications compose (vertical) and distribute over the parallel composition (horizontal). Adjunctions between nonsequential automata, Petri nets and sequential automata are provided extending the approach of Winskel, Nielsen and Sassone where a scene for a formal classification of models for concurrency is set. The steps of abstraction involved in moving between models show that nonsequential automata are more concrete than Petri nets and sequential automata. To experiment with the proposed semantic domain, a semantics for a concurrent, object-based language named Nautilus is given. It is a simplified and revised version of the object-oriented specification language GNOME, introducing some special features inspired by the semantic domain such as reification and aggregation. The diagonal compositionality is an essential property to give semantics in this context.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-08-16T13:58:33Z No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-08-17T11:21:51Z (GMT) No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-17T11:21:51Z (GMT). No. of bitstreams: 2 Tese - Regiane de Ávila Chagas - 2018.pdf: 1720554 bytes, checksum: 98af69b55de819562d7261238adf53a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-07-06 / The present thesis has as study of object the dance. What motivates this research is the following research problem: what are the mediations that are becoming more determinant in the process of dance production in the historical particularity of the capitalist mode of production? For this investigative challenge, the theoretical framework is based on Karl Marx (2010, 2013), Karl Marx and Friedrich Engels (2007), Georg Lukács (1966, 2012, 2013) and Theodor Adorno and Max Horkheimer (1985). In the specific field of dance, the main interlocutions occurred with Roger Garaudy (1980) and Maribel Portinari (1989). The option for the method of analysis to grasp the essence of the reality of dance in the capitalist system was dialectical historical materialism, the philosophical basis of Marxism. Through the lens of dialectical historical materialism, material reality concerns the processes of production and reproduction of human life. However, both the way and means used in the production of life are historically determined by equally particular social and economic conditions. In this research movement, both the ontological aspects of dance as well as their development in the pre-capitalist economic formations were approached. However, the particularity of the capitalist system became the mode of production that this research inserted more effort. The central thesis that this research postulates is summarized in the affirmation that dance is human work and therefore it is a human objectification that develops and manifests itself under certain social conditions, and that, in the historical particularity of the capitalist mode of production, dance has been developing as a commodity, where the phenomena of alienation, fetishism, reification and the culture industry constitute the most determinant mediations in its production. / A presente tese tem por objeto de estudo a dança. O que motiva esta investigação se traduz no seguinte problema de pesquisa: quais são as mediações que vêm se constituindo como mais determinantes no processo de produção da dança na particularidade histórica do modo de produção capitalista? Para este desafio investigativo, o quadro de referências teóricas encontra sua fundamentação em Karl Marx (2010, 2013), Karl Marx e Friedrich Engels (2007), Georg Lukács (1966, 2012, 2013) e Theodor Adorno e Max Horkheimer (1985). No campo específico da dança, as principais interlocuções ocorreram com Roger Garaudy (1980) e Maribel Portinari (1989). A opção pelo método de análise para apreender a essência da realidade da dança no sistema capitalista foi o materialismo histórico dialético, base filosófica do marxismo. Pelas lentes do materialismo histórico dialético a realidade material diz respeito aos processos de produção e reprodução da vida humana. No entanto, tanto o modo como os meios utilizados na produção da vida são determinados historicamente por condições sociais e econômicas igualmente particulares. Neste movimento de pesquisa foram abordados tanto os aspectos ontológicos da dança bem como seu desenvolvimento nas formações econômicas pré-capitalistas. No entanto, a particularidade do sistema capitalista se constituiu como o modo de produção que esta pesquisa inseriu maior esforço. A tese central que esta investigação postula se resume na afirmação de que a dança é trabalho humano e, portanto, ela é uma objetivação humana que se desenvolve e se manifesta sob determinadas condições sociais, sendo que, na particularidade histórica do modo de produção capitalista, a dança vem se desenvolvendo na qualidade de mercadoria, onde os fenômenos da alienação, do fetichismo, da reificação e da indústria da cultura se constituem como as mediações mais determinantes em sua produção.

Autômatos não-seqüenciais constituem um domínio semântico categorial do tipo não-intercalação para sistemas reativos, comunicantes e concorrentes.É baseado em sistemas de transições etiquetados, inspirado em "Redes de Petri são Monóides" de Meseguer e Montanari, onde as operações de sincronização e encapsulação são funtoriais e as reificações constituem uma classe de morfismos especiais. Do que se tem conhecimento, é o primeiro modelo de concorrência a satisfazer a composicionalidade diagonal, ou seja, onde as reificações compõem (verticalmente) e distribuem-se sobre a composição paralela (verticalmente). Adjunções entre autômatos não-seqüenciais, redes de Petri e autômatos seqüenciais são introduzidas estendendo a abordagem de Winskel, Nielsen e Sassone onde é proposta uma classificação formal para modelos de concorrência. Dos passos que envolvem a passagem de um modelo para outro, pode-se inferir que os autômatos não-seqüenciais são mais concretos do que as redes de Petri e os autômatos seqüenciais. Para experimentar o domínio semântico proposto, é dada semântica a uma linguagem concorrente, baseada nos objetos, denominada Náutilus. Trata-se de uma versão simplificada e revisada da linguagem de especificação orientada aos objetos GNOME, onde são introduzidos algumas facilidades especiais, inspiradas no domínio semântico, como a reificação e a agregação. Neste contexto, a composicionalidade diagonal é uma propriedade essencial para dar a semântica. / Nonsequential automata constitute a non-interleaving categorial semantic domain for reactive, communicating and concurrent systems. It is based on labeled transition systems, inspired by Meseguer and Montanari's "Petri Nets are Monoids", where synchronization and encapsulation operations are functorial and a class of morphisms stands for reification. It is, for our knowledge, the first model for concurrency which satisfies the diagonal compositionality requirement, i. e., reifications compose (vertical) and distribute over the parallel composition (horizontal). Adjunctions between nonsequential automata, Petri nets and sequential automata are provided extending the approach of Winskel, Nielsen and Sassone where a scene for a formal classification of models for concurrency is set. The steps of abstraction involved in moving between models show that nonsequential automata are more concrete than Petri nets and sequential automata. To experiment with the proposed semantic domain, a semantics for a concurrent, object-based language named Nautilus is given. It is a simplified and revised version of the object-oriented specification language GNOME, introducing some special features inspired by the semantic domain such as reification and aggregation. The diagonal compositionality is an essential property to give semantics in this context.

Neste trabalho, estudaremos os filmes da trilogia Matrix do ponto de vista da figuração. A análise do tecido narrativo dos filmes objeto desse estudo revela uma série de falhas e inconsistências. Essas falhas expõem alguns dilemas da experiência sob o domínio do capitalismo tardio. As zonas de ambigüidade e indefinição que identificamos em Matrix nos orientaram a pensar essa obra cinematográfica como um esforço cognitivo mal resolvido. Essa é a epistemologia travada de Matrix, que será estudada não como uma simples falha de diagnóstico resultante da falta de lucidez cognitiva dos criadores da série, mas sim como um exemplar significativo da exposição de limites da figuração histórica. / In this work, we are going to study the Matrix trilogy from the perspective of figuration. The analysis of the narrative fabric of these movies reveals many failures and inconsistencies. Such failures expose some dilemmas of the experience under the domain of late capitalism. The ambiguity and indetermination zones which we identified in Matrix have led us to think these movies to be an unsolved cognitive effort. This is the jammed epistemology of Matrix, which is going to be analyzed not as a simple diagnosis failure due to the movies\' creator\'s lack of cognitive lucidity, but as a significant example of the exposition of the limits of historical figuration.

La Critique de la vision phénoménologique est une tentative de critique de la phénoménologie, à travers la Théorie Critique et la philosophie d’Emmanuel Lévinas, qui caractérise la phénoménologie comme une science eidétique. Nous proposons donc une bref histoire du concept de l’eidos, qui est compris comme un archétype idéal depuis le Platonisme. On aborde l’opposition du matérialisme et de l’idéalisme ancrée dans la Théorie des formes de Platon, l’hylémorphisme d’Aristote, et la Théorie matérialiste des simulacres de Lucrèce. La question substantielle : « matérialisme et/ou idéalisme » nous conduit aux principes de l’individuation, au formalisme et aux concepts de la réification. La phénoménologie de Husserl est née dans le Kulturkampf qui se caractérise par le déferlement du positivisme dans l’idéalisme. Sous cet angle, la phénoménologie est un certain tour de force idéaliste contre le positivisme. La phénoménologie essaie d’intégrer les courants contemporains de la philosophie allemande, et c’est ici et non en biologie que se situe la lutte pour la vie, selon Husserl. Le problème de la vision phénoménologique, en regard de la « race » comportant des significations qui ne sont pas particulièrement biologiques, est un problème qui remonte à Aristote. Selon lui, l’usage de l’eidos est aussi synonyme des catégories de genre et d’espèce. L’eidos d’Husserl inclut la conception d’Aristote, et se présente comme un moyen possible de construire un concept métaphysique de la race en dehors de la biologie. L’eidos en tant que type, tel qu’il est constitué dans la Lebenswelt, se caractérise finalement par la transformation de l’Umwelt en Heimwelt, dans lequel l’individu est passivement formé par la tradition, l’habitus, par terre et sang – un monde de la moyenne, de la « normalité ». Nous essayons de montrer, dans le processus de ce bouleversement irrationnel de la philosophie en Allemagne, le cas particulier et tragique du devenir de la phénoménologie de Husserl entre les mains de Heidegger, qui suggère une auto-limitation de la phénoménologie à la recherche d’un sens qui vise à l’unité du Dasein. Notre but ici est simple et radical : de même que Marx a montré que la philosophie de Hegel n’est rien d’autre que la collection des catégories de la philosophie bourgeoise en déclin, Lévinas et l’École de Francfort ont montré que la philosophie de Heidegger n’est rien d’autre qu’une poursuite de la philosophie hégélienne, mais à un niveau plus abstrait et aussi plus global. / This work is driven by the attempt to criticise Phenomenology with the help of Levinas. Similar to the Frankfurt School, he characterises it as a “vision of essences”. These eidetical essences are, and can never be fully absolute, not only because several movements of Hegelian Dialectics are refuted in submitting knowledge either to the imago of mere immanence, or to normative structures which are postulated as invariant like in certain versions of Neoplatonism, but because they function as an apriori of an eternally unfinished and fragmented Lebenswelt. Maybe it is to harsh to compare Husserl to the neoscholastic readings of Descartes and to the formalist interpretations of Kant. Husserl is well aware of the kinaesthetic foundations of consciousness and, contrary to Heidegger, he even promotes Spinozism in a certain phase of his which excels his adolescent fervour of Berkeley. Nevertheless, Husserl incorporates a subject-based, “monadic” transcendentalism, that paradoxically leads to the dissolution of subjective identity. Traditional reasoning itself is exfoliated to perfection in Heidegger afterwards. Husserl's halfhearted formalism ignores the materialist theory of the simulacrum by Lucretius. Heideggers philosophy widens this overseen aspect in calling the Eidos an Aussehen in referring to the Presocratics, but it despises any kind of method and finally flees in to poetry, maintaining its fatalist errors which it committed right form the start: this is why it gained the name of pseudo-concreteness. Cursed through a specific anti-sociological tendency caused by an anti-empiricist vision of history, their theories virtually (not conceptually) exclude the influences of society on philosophy: they are the end result of the era of Kulturkampf, in which idealism tried to battle positivism, naturalism and historicism. Husserl even defines this philosophical battle as the very struggle of existence. The formulation of the Eidos becomes performance. Aristotle used Eidos synonymous to genus and species. Hence the amplitudes of these philosophies foster the metaphysical standpoint of race, that got out of hand in the Nazi Era and even later on. The “topic” of blood and soil appears in Husserl's definition of Heimwelt and his Eurocentrism. Phenomenology is in no case to blame for National Socialism, and that it has very little to to with its causes. My work simply tries to make the same analogy that Marx had made for Hegel. It tries to describe, how two leading philosophers of the German Bourgeoisie are reproducing the categories of their surrounding society without even really observing it.

This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works (such an exercise is both impossible and pointless), the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works.

This thesis argues that the debate over the relationship between Theory and political practice has reached a dead-end in IR. Most scholars taking part in this debate based their claims on meta-theoretical assumptions, which explains the inability to settle the debate. This logic not only discouraged empirical enquiries, but also undermined reflexivity. Instead, this thesis calls for the translation of these meta-theoretical assumptions into a methodology and into methods to produce empirical knowledge by which to explore the relationships between Theory and political practice on specific issues. To this end, the thesis investigates relationships between American IR academic discourse and senior officials discourse and their effects on US foreign policy towards Iran between 1998 and 2014. The thesis provides a typology to map and to assess the gaps in the debate over the relationship between Theory and political practice in IR. This typology is composed of four ideal-types: Theory to political practice, Theory vs. political practice, Theory as political practice and practice to political practice. The thesis also translates meta-theoretical assumptions drawn from Wittgenstein and Foucault into a methodology to generate empirical knowledge on specific relationships between Theory and political practice. This methodology enables to trace an evolving system of thoughts expressed in the Theory and political practice of the Iranian nuclear crisis and to expose what this system does to US society and foreign policy. Three elements compose this system: the certainty of democratic teleology, the certainty of uncertainty and the certainty of smart power. The thesis claims that IR knowledge production on Iran mostly acted as symbolic knowledge morphing uncertainties about Iran into certainties for US governmental power. Only then could senior officials produce a judgement against Iran and implement disciplinary measures in the form of sanctions, covert actions, and military threats.