Thesis (M.A.)--University of North Carolina at Wilmington, 2005. / Includes bibliographical references (leaves: [40]-41)

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009 / Bibliografia: f. 113-116 / Amparados nas teses do psicólogo evolucionista Steven Pinker, buscaremos uma melhor compreensão do comportamento humano, fazendo uma revisão no modelo clássico de ciências sociais. Para ele o arquétipo delineador do comportamento humano se encontra ultrap / Supported in the teses of evolucionista psychologist Steven Pinker, we go to search one better understanding of the human behavior, making a revision in the classic model of social sciences. For it archtype limiting of the human behavior if finds exceeded

This thesis examines the music of contemporary British progressive rock artist Steven Wilson and explores the ways in which specific musical influences have informed and shaped his work. Wilson’s solo output is extremely eclectic and draws from a plethora of diverse genres including progressive rock, electronica, metal, drone, pop, jazz, and industrial. Although it would be impossible to trace all of the influences involved in Wilson’s unique musical idiolect, I study the influence of three seminal tracks upon his work: progressive rock band King Crimson’s “The Court of the Crimson King” (1969), electronica duo Boards of Canada’s “An Eagle in Your Mind” (1998), and progressive death metal group Opeth’s “Blackwater Park” (2001). I demonstrate how Wilson’s recordings share timbral and formal features with these earlier works and consider the analytic implications through the lens of genre theory. The findings are then synthesized through a focused analysis of Wilson’s “Ancestral” (2015) in order to explore genre fusion and demonstrate how these salient musical features are integrated within a single song. This project ultimately seeks to situate Wilson within the progressive rock tradition, consider the role of timbre and form in popular music genres, and investigate the complex relationship between genre and influence.

La fiction de Steven Millhauser est caractérisée par le mouvement perpétuel : un mouvement générique du réalisme au fantastique, avec des intrigues qui résistent aux dénouements et des personnages, des lieux et des objets en transformation constante. Son œuvre nous présente exploration de la métamorphose littéraire, qui se manifeste à la fois comme style d'écriture et comme motif. Enracinée dans une conception typiquement américaine de la métamorphose, née de la philosophie Ralph Waldo Emerson, la métamorphose millhauserienne attire l'attention du lecteur sur le pouvoir transformateur de l'art et plus spécifiquement de la littérature. Utilisant la relation entre l'art et l'identité culturelle comme point de départ, notre thèse montre que la fiction de Millhauser développe la nature métamorphique de l'expérience esthétique. Au cœur de la dynamique de la métamorphose littéraire se trouve la relation entre lecteur, texte et auteur, relation transformatrice que Millhauser met en scène à plusieurs reprises, afin d'explorer les possibilités et les limites du language. Si sa fiction illustre le potentiel destructeur de la métamorphose linguistique, et manifeste aussi une certaine angoisse concernant les limites du langage, son œuvre est néanmoins dominée par un sentiment d'émerveillement et d'espoir dans la valeur régénératrice de la fiction, et son pouvoir de faire resurgir la beauté d'un monde devenu ordinaire. / Steven Millhauser's fiction is characterized by perpetual movement: a transition from realism to the fantastic, with plots which resist denouement and characters, places and objects in constant transformation. Millhauser's work offers the reader a literary metamorphosis which is both stylistic and thematic. The millhauserien metamorphosis is typically American, the offspring of Emersonian philosophy, and it highlights the transformative power of art and, specifically, of literature. Using the mutually transformative relationship between art and cultural identity as a starting point, this thesis demonstrates the ways in which Millhauser's fiction develops the metamorphic nature of the esthetic experience. The relationship between the reader, the text and the author is at the heart of literary metamorphosis, and this transformative relationship, which often appears in Millhauser's work, sets the stage for an exploration of the possibilities and limits of language. If Millhauser's fiction illustrates the destructive potential of linguistic metamorphosis, and articulates a certain anxiety concerning the limits of language, his work is nonetheless dominated by the sentiment of wonder and hope in the regenerative value of fiction and its power to reveal the unusual beauty of a world which has become ordinary.

[pt] Esta dissertação apresenta o desenho animado Steven Universo (2013) enquanto mídia produzida e produtora de comportamentos na vida social. A análise de seu enredo, personagens, músicas e temas abordados visa discutir as relações de poder presentes na estrutura social fictícia à luz de teorias do poder, da corporalidade e das emoções. O objetivo é perceber essas relações em regimes colonialistas e sua presença ainda hoje nas narrativas da indústria cultural, através de descrição de cenas, perfil de personagens e revisão bibliográfica. A hierarquia política da sociedade de castas apresentada na série animada é associada ao controle sobre os corpos como instrumento de controle social. E mostra também as consequências de determinados regimes opressores no desenvolvimento emocional dos indivíduos. / [en] This research presents the animated series Steven Universe (2013) as a product and a producer of behavior in social life. The analyze of it s plot, characters, musics and theme intend to discuss power relations in the ficticious social structure using theories of power, bodies and emotions. The objective is to realize those relations in colonialists systems and there presence still now in the narratives in cultural industry, by describing cenes, characters historys and theories review. The political hierarchy of the society presented at the animated series is associated with bodies control as a social control instrument. And it also shows the consequences os some opressor regimes in people emotional development.

Dans un bref essai intitulé « The Ambition of the Short Story », Steven Millhauser proclame de manière volontairement provocatrice la supériorité artistique de la nouvelle sur le roman. Il s’appuie pour ce faire sur un vers du poète romantique William Blake, dont il réoriente radicalement le propos. Tandis que le poète invite à voir « un monde dans un grain de sable », Millhauser affirme qu’il est possible de voir le monde dans un grain de sable. Aux grandes fresques romanesques, Steven Millhauser préfère ainsi une écriture concise et économe, capable de transformer certains « grains de sable » (c’est-à-dire des détails infimes, en apparence ordinaires ou triviaux) en autant de points d’ancrage, permettant à la fiction de dire « le monde ». L’art fictionnel de Steven Millhauser n’est donc pas tant une écriture du minuscule qu’une écriture miniaturiste. Passant sans ambages de l’infime à l’immense et du relatif à l’absolu, la fiction millhausérienne est à la fois un art du détail et de la dé-taille. Dans son tout premier essai, « The Fascination of the Miniature », l’auteur écrit qu’il n’y a « aucune différence entre un grain de sable et une galaxie », soulignant ainsi le rôle fondateur du regard. Car tout dépend du regard et de ses échelles. Le présent travail cherche à expliquer par quels moyens Steven Millhauser met en place une écriture miniaturiste, non seulement dans ses récits brefs, mais également dans son œuvre romanesque. Pour ce faire, cette étude met en évidence la réflexion sur le détail et sur le regard que l’auteur développe à la fois dans ses écrits fictionnels et non fictionnels. Entre théorie et fiction, Millhauser explore les implications « poéthiques » du regard. Il invente un regard métamorphique, conjuguant l’attention et l’imagination, afin de déceler le tout dans le fragment et l’essentiel dans l’insignifiant. L’écriture miniaturiste de Millhauser a un territoire et une échelle privilégiés : la petite ville de Nouvelle-Angleterre, et les « vies minuscules » (l’expression est de l’écrivain Pierre Michon) de ses habitants. En effet, les récits consacrés au quotidien pavillonnaire et suburbain s’offrent le plus souvent comme des fables miniatures, interrogeant la condition humaine. Aux yeux de Millhauser, les grands maîtres réalistes ont « brillamment épuisé une méthode [et] une certaine façon de voir le monde ». Avec son écriture miniaturiste, Steven Millhauser propose justement une certaine méthode et un certain regard. Il invite son lecteur à voir le monde au prisme du « grain de sable » – à suspendre quelque peu son incrédulité, avec les mots de Coleridge, sans pour autant se laisser tromper. Steven Millhauser apporte ainsi sa pierre – ou son grain de sable – à la fiction américaine contemporaine, en proposant moins une écriture du soupçon qu’une écriture du souci, tentant d’inscrire dans le texte ce que l’auteur présente, par le détour d’une périphrase, comme « cette chose éblouissante qu’il faut bien appeler réalité ». / In a brief essay entitled “The Ambition of the Short Story,” Steven Millhauser provocatively asserts the artistic superiority of the short story over the novel. In order to support his argument, Millhauser quotes Romantic poet William Blake, while profoundly altering the original meaning of Blake’s line. Indeed, while the poet wishes “to see a world in a grain of sand,” Millhauser deems it possible to see the world in a grain of sand. Steven Millhauser thus favors a concise, pithy style capable of turning a few grains of sand (that is to say, some tiny and apparently trifling details) into windows, enabling the writer to engage with “the world.” Moving seamlessly from the minuscule to the gigantic, and from the particular to the universal, Millhauser’s art of fiction may be considered a miniaturist writing. In his very first essay, “The Fascination of the Miniature,” the author claims that there is “no difference between a grain of sand and a galaxy,” thus drawing attention to the decisive role played by the human eye. Indeed, everything hinges on the scale one adopts. This study aims at explaining how Steven Millhauser invents a miniaturist type of writing, not only in his short fiction, but also in his novels. Combining theory and fiction, Millhauser explores the “poethical” (a neologism coined by French poet Michel Deguy) importance of attention to detail. Merging attention and imagination, the author develops a metamorphic gaze, able to reveal the whole within the fragment and the essential within the insignificant. Millhauser’s miniaturist writing has a territory and a scale of its own: the New England small town. The narratives devoted to suburban daily life are most often presented as miniature fables, exploring the human condition. According to Millhauser “the great realist masters brilliantly exhausted a method, a way of looking at the world.” Steven Millhauser’s own minute, miniaturist writing offers such a method and way of looking at the world. He invites his reader to see the world through the prism of the “grain of sand”—to somehow suspend his disbelief, as Coleridge would say, yet without being deceived. With his miniaturist eye Steven Millhauser contributes to the renewal of contemporary American fiction, going beyond suspicion while trying to describe and inscribe what he calls “the blazing thing that deserves the name of reality.”

Made available in DSpace on 2016-08-03T12:29:49Z (GMT). No. of bitstreams: 1 Diego Franco.pdf: 1192566 bytes, checksum: 154a0ae08db54c52e6292e9fa0292394 (MD5) Previous issue date: 2013-05-02 / Steven Johnson é uma referência de relevo na pesquisa brasileira sobre comunicação digital. Ainda assim, essa temática é abordada apenas de maneira tangencial na maior parte da sua produção bibliográfica: os livros de Johnson são, ao mesmo tempo, exemplos e defesas de um método de pesquisa e exposição que integra pensamento sistêmico e abordagem interdisciplinar ao qual ele chama long zoom e que tem a pretensão de trazer novos fatos sobre os fenômenos aos quais é aplicado. Essa dissertação, através de um estudo teórico, analisa os limites e as possibilidades do pensamento de Steven Johnson e de seu long zoom para a pesquisa científica em Comunicação Social. Por meio de uma revisão bibliográfica da obra do autor, cruzando-a com dados biográficos, é apresentada uma análise de conjunto do pensamento de Steven Johnson que o caracteriza como, fundamentalmente, um pensamento epistemológico. A partir disso, com uma breve revisão das principais miradas epistemológicas, da Grécia Antiga ao século XXI, são traçados os parentescos intelectuais do long zoom. Num terceiro momento, revisa-se as formas com que Johnson aplica o long zoom aos problemas da Comunicação Social, verificando-se uma tendência dominante a ressaltar as consequências sociais dos fluxos de informação permitidos pelos meios de comunicação TV e internet, sobretudo, mas também videogames numa aproximação com a Cibernética e, principalmente, um modelo mcluhaniano de análise da comunicação. Após esse trajeto, conclui-se que, a despeito das suas próprias pretensões, Johnson não apresenta novos fatos com o seu long zoom, mas novos pontos de vista e proposições teóricas que podem ou não vir a ser comprovadas pelo trabalho de cientistas.

Steven I. Y. E. Mrikaria, Mhadhiri wa Taasisi ya Taaluma za Kiswahili ya Chuo Kikuu cha Dar es Salaam aliyezaliwa mnamo Disemba 9, 1963, ameaga dunia mnamo Januari 17, 2018. Aldin K. Mutembei aliye msomi mweledi na mwanaharakati mashuhuri wa lugha na fasihi ya Kiswahili anamwenzi Marehemu Steven Mrikaria akielezea mchango wake katika utafiti na ufundishaji wa lugha na fasihi ya Kiswahili na kumkumbuka kama msomi mwenzake na rafiki yake wa siku nyingi. / Steven I. Y. E. Mrikaria, Lecturer at the Institute of Kiswahili Studies, University of Dar es Salaam who was born on December 9, 1963, passed away on January 17, 2018. Aldin K. Mutembei, accomplished scholar and most eminent activist of Swahili language and literature honours the late Steven Mrikaria by elucidating his contribution to the research and teaching of Swahili language and literature, and remembering him as a fellow scholar and a long-time friend.

<p>The aim of this paper is to analyse the perceived power structures in ethnic and non-ethnic football clubs in the way that they are manifested by their respective leadership/administration. For this, three clubs from each respective group (six in total) have been chosen and representatives of each group have been interviewed. Additionally, a qualitative analysis is applied when dealing with the material which in this case implied that they are analysed through an original model that is based on Steven Lukes’s conception of the three dimensional views of power. The point of departure lies in the interviewed representatives giving their accounts of how their respective clubs utilises their control and how they handle certain situations and conflicts. Their accounts invariably reflect upon a particular approach which can be fitted into one or more of Lukes’s dimensional views, which will ultimately provide an overall picture of the perceived power structure within that association. The subsequently comparison of results can then be expected to indicate if there is any difference in perceived power structures between that of ethnic and non-ethnic football clubs. The result of this study would ultimately show that while some notable difference could be manifested on a macro level, there were such great disparities on the micro level that there were in fact greater differences between the individual clubs themselves than that between the clubs as ethnic/non-ethnic groups.</p>

Using Gene Sharp’s guidelines for nonviolent action and Steven Levitsky and Lucan Way’s four arenas of contestation (electoral, legislative, judiciary, and the media) that allow opposition forces to challenge, weaken, or defeat competitive authoritarian regimes, this study provides a functionalist analysis of Serbia’s Otpor movement. Serbia under Milošević was a particular type of hybrid regime called competitive authoritarianism, a regime where the rules of a fully democratically integrated government are violated so often and to such extent that competitive authoritarian incumbents fall short of the bare minimum standards of conventional democracy, bordering the line of authoritarian dictators. Combining Sharp, Levitsky, and Way’s functionalist perspective on social movements with those of sociologists Charles Tilly and Lesley Wood and Charles Stewart’s functional approach to the rhetoric of social movements, this study outlines Otpor’s strategies and analyzes them in hopes of outlining a blueprint for future social movements with similar political opportunities available.