Submitted by Jose Espinoza (jhuapayae@gmail.com) on 2016-09-08T17:58:31Z No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / Approved for entry into archive by Eleonora Guimaraes (esilva@ufba.br) on 2018-03-28T19:30:12Z (GMT) No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / Made available in DSpace on 2018-03-28T19:30:12Z (GMT). No. of bitstreams: 2 Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) Tesis José Carlos Huapaya Espinoza.pdf: 46802644 bytes, checksum: c0e60177ca8169e2c98267271aa73c28 (MD5) / CAPES / Apesar de o Peru ter sido campo de diversas experiências urbanísticas modernas que o levaram a ganhar destaque internacional entre as décadas de 1940 e 1960, verificamos, no entanto, que existe uma grande lacuna sobre a história da arquitetura e do urbanismo modernos peruanos nas principais bibliografias especializadas. Nesse período, o arquiteto peruano Fernando Belaunde Terry foi um dos poucos profissionais que se envolveram e se dedicaram à produção intelectual, projetual e editorial. Além disso, ele foi o principal gestor e promotor da implantação do urbanismo e do planejamento urbano no Peru, atuação essa notadamente viabilizada mediante sua incursão direta no campo político, onde assumiu o cargo de Deputado por Lima (1945) e, depois, de Presidente do país em dois períodos (1963-1968 e 1980-1985). Esta tese tem como objetivo balizar as contribuições de Fernando Belaunde Terry para o debate e consolidação do ideário moderno no país entre 1936 e 1968. Esse recorte corresponde a seu retorno ao país após concluir sua formação universitária nos EUA e ao final do seu primeiro mandato como presidente do Peru. A sua atuação profissional foi analisada a partir das seguintes vertentes: a editorial, tendo ele criado a primeira revista especializada El Arquitecto Peruano (1937), principal veículo de difusão do ideário moderno no país; a projetual, paradoxalmente a menos conhecida e estudada; a institucional, sendo ele fundador do Instituto de Urbanismo del Perú (1944), primeiro centro de pós-graduação em urbanismo e planejamento urbano no Peru; e a política, que envolve a sua atuação na elaboração de legislação urbanística e a cristalização desta, mediante a criação da Oficina Nacional de Planeamiento y Urbanismo (1946) e da Corporación Nacional de la Vivienda (1946). A abrangência do campo de ação e a complexidade da produção de Fernando Belaunde Terry podem ser compreendidas a partir da sua vinculação às ideias de “tradição” e “modernidade”, que irão demarcar continuidades, avanços e retrocessos na sua trajetória.

Kalla krigets slut kom att innebära en ökad andel militära försvarsomställningar. Ända sedan dess har det rått delade meningar i forskarvärlden angående hur militära försvarsomställningar ska förklaras; Farrell och Terriff är några av de forskare som försökt förklara dessa genom att skapa en teoretisk förklaringsmodell. Den teoretiska förklaringsmodellen utgår ifrån tre förklarande kategorier: teknologibaserade, politiskastrategiska och kulturbaserade. För att uppfylla syftet med denna uppsats genomfördes en teoriprövning med Farrell och Terriffs teoretiska förklaringsmodell som utgångspunkt för att testa om den kunde förklara den svenska försvarsomställningen. För att kunna genomföra teoriprövningen genomfördes en motivanalys av proposition 2014/15:109 Försvarspolitisk inriktning – Sveriges försvar 2016-2020. Utifrån det analyserade materialet drogs slutsatsen att den teoretiska förklaringsmodellen kunde förklara den svenska försvarsomställningen, främst genom politiska-strategiska orsaker, men att den behöver utvecklas ytterligare för att på ett mer strukturerat och omfattande sätt kunna förklara försvarsomställningar.

The purpose of this study was to obtain a better understanding of housing conditions of the 108 occupied rural homes in the school district known as Wellman Consolidated Independent School District, which is located in Terry County in West Texas.

This doctoral dissertation, entitled Illustration of Natural Science and Graphic Automatism as Paradigms of the Search for Objectivity and Subjectivity through Drawing. A Theoretical and Practical Study, is centered in the field of drawing and born from a series of insights arising from the artistic practice of the autor of the thesis. It is about and investigation that delves into how aspects of nature are represented, learned about, and comunicated through drawing. To do this, two seemingly opposite forms of drawing are juxtaposed: the automatic drawing, developed by the Surrealists in the second decade of the twentieth century (which is presented as the paradigm of subjectivity in the field of drawing); and illustration of natural sciences, belonging to the Age of Enlightenment (which is the maximum expression of objectivity in the field of drawing). Despite these drawing styles being distant in time and demanding a radically different attitude of the artist, we believe that they share more aspects than it might seem a priori. One emphasized aspects of this graphical strategies is that they seek to represent nature impartially, although automatic drawing alludes to the psychic nature of the illustrator, while illustration of natural sciences alludes to biological nature. In fact, to try to show the commonalities, as well as differences found between the two types of drawing, we will first review the evolution and main characteristics of each of these graphic strategies. Hence, we will begin the first two chapters addressing the origin onf these types of drawing, which fundamentally have the same starting point: the splitting of the objective and subjective views of reality at the dawn of Modernism, which would lead to establish a growing gap between the practical representations of scientific and humanistic culture. In addition, we will review some of the most representative works of automatic drawing and illustration of natural sciences in order to analyze their main characteristics and deepen the link between these modes drawing and visuality. We will also point out some creative limitations found in both graphic strategies. The third chapter is one in which we "cross" the information contained in the two preceding chapters in order to show that, although there are undeniable differences, there are also a number of similarities that allow for the meeting of the two modes of drawing in the same artistic discourse. In fact, we will present the work of a number of artists who have combined both visual languages, and we will delve into the artistic production of three artists, fundamental to the artistic production of the autor of this thesis: Max Ernst, Terry Winters, and Luis Gordillo. These creators have fruitfully combined automatic drawing with an allusion to the imaginary of the natural sciences to reflect accurately on their mental processes and plastically enrich their artistic discourse. We were able to question both Winters and Gordillo directly about substantive issues in this research, and so we have transcribed the complete interviews and attached them to the end of the chapter so they can be consulted in their entirety. In this chapter, we will also present the work of the autor of this thesis, performing a chronological review of his graphic evolution in order to describe his creative development and demonstrate the connections between his insights arrising from artistic practice and his theoretic reflection in general. Finally, we have included some conclusions in which we balance what is presented throughout the investigation and try to clarify to what extent the initial insights arising from the artistic practice of the author were wrong, or conversely if some anticipated aspects have been confirmed through detailed theoretical analysis. / Esta tesis doctoral, denominada La ilustración de ciencias naturales y el automatismo gráfico como paradigmas de la búsqueda de objetividad y subjetividad a través del dibujo. Estudio teórico- práctico, está centrada en el ámbito del dibujo y nace a partir de una serie de intuiciones surgidas de la práctica artística del tesinando. Se trata de una investigación que profundiza en cómo se registran, conocen y comunican aspectos de la naturaleza a través del dibujo. Para ello, se yuxtaponen dos modos de dibujar que parecen opuestos: El dibujo automático desarrollado por los surrealistas en la segunda década del siglo XX (que se presenta como el paradigma de la subjetividad en el ámbito del dibujo) y la ilustración de ciencias naturales perteneciente al periodo ilustrado (máxima expresión de la objetividad en el campo dibujístico). A pesar de tratarse de tipos de dibujo distantes en el tiempo y que demandan del dibujante una actitud radicalmente distinta, consideramos que comparten más aspectos de los que pudiera parecer a priori. Entre ellos, destaca el tratarse de estrategias gráficas que buscan registrar la naturaleza de manera imparcial, aunque el dibujo automático aluda a la naturaleza psíquica del dibujante y la ilustración de ciencias naturales a la naturaleza biológica. De hecho, para tratar de evidenciar los puntos en común entre ambos modos de dibujar así como las diferencias encontradas, primero revisaremos el devenir y las características principales de cada una de estas estrategias gráficas. Por ello, comenzaremos los dos primeros capítulos abordando el origen de estas maneras de dibujar, que en el fondo parte de un mismo punto: La escisión de la perspectiva objetiva y subjetiva de la realidad en los albores de la Modernidad, que conllevaría a establecer un creciente distanciamiento entre las prácticas representaciones de la cultura científica y la humanística. Además, revisaremos algunas de las obras más representativas del dibujo automático y la ilustración de ciencias naturales, con el fin de analizar sus características principales y profundizar en el vínculo entre estos modos de dibujar y la visualidad. También señalaremos algunos limitantes creativos encontrados en ambas estrategias gráficas. El tercer capítulo será aquel en el que "cruzaremos" la información expuesta en de los dos anteriores con el fin de evidenciar que, a pesar de que existen innegables diferencias, hay también un buen número de similitudes que hacen posible el encuentro entre ambas estrategias gráficas en un mismo discurso artístico. De hecho, presentaremos la obra de una serie de creadores que han simultaneado ambos lenguajes visuales y profundizaremos en la producción artística de tres artistas fundamentales en la producción artística del tesinando: Max Ernst, Terry Winters y Luís Gordillo. Estos creadores han combinado de manera fecunda el dibujo automático con una alusión al imaginario de ciencias naturales para reflexionar de manera certera sobre sus procesos psíquicos y enriquecer plásticamente su discurso artístico. Tanto a Gordillo como a Winters pudimos preguntarles directamente sobre cuestiones sustanciales de esta investigación, por ello hemos transcrito de manera íntegra las entrevistas realizadas y las hemos anexado al final del capítulo para que puedan consultarse en su totalidad. En este capítulo, también presentaremos la obra del tesinando, realizando un repaso cronológico a su evolución gráfica con el fin de describir su desarrollo creativo y evidenciar las conexiones entre las intuiciones surgidas de la práctica artística y las reflexiones teóricas de carácter general. Por último, hemos incluido unas conclusiones en las que hacemos balance de lo expuesto a lo largo de la investigación y tratamos de dilucidar hasta qué punto las intuiciones iniciales surgidas de la práctica artística del tesinando eran erradas o, por el contrario, anticipaban aspec / Aquesta tesi doctoral, anomenada La il·lustració de ciències naturals i l'automatisme gràfic com a paradigmes de la recerca d'objectivitat i subjectivitat a través del dibuix. Estudi teòric-pràctic, està centrada en l'àmbit del dibuix i neix a partir d'una sèrie d'intuïcions sorgides de la pràctica artística de l'autor d'aquesta tesi. Es tracta d'una investigació que aprofundeix en com es registren, coneixen i comuniquen aspectes de la natura a través del dibuix. Per a això, es juxtaposen dues maneres de dibuixar que semblen oposades: El dibuix automàtic desenvolupat pels surrealistes en la segona dècada del segle XX (que es presenta com el paradigma de la subjectivitat en l'àmbit del dibuix) i la il·lustració de ciències naturals pertanyent al període il·lustrat (màxima expressió de l'objectivitat en el camp del dibuix). Tot i tractar-se de dos formes de dibuixar distants en el temps i que demanden del dibuixant una actitud radicalment diferent, considerem que comparteixen més aspectes dels que podria semblar a priori. Entre ells, destaca el tractar-se d'estratègies gràfiques que busquen registrar la naturalesa de manera imparcial, encara que el dibuix automàtic al·ludeixi a la naturalesa psíquica del dibuixant i la il·lustració de ciències naturals a la naturalesa biològica. De fet, per a tractar d'evidenciar els punts en comú entre els dos tipus de dibuix així com les diferències trobades, primer revisarem l'esdevenir i les característiques principals de cadascuna d'aquestes estratègies gràfiques. Per això, començarem els dos primers capítols abordant l'orígen d'aquests tipus de dibuix, que en el fons part d'un mateix punt: L'escissió de la perspectiva objectiva i subjectiva de la realitat en les albors de la Modernitat, que comportaria a establir un creixent distanciament entre les pràctiques representacions de la cultura científica i la humanística. A més a més, revisarem algunes de les obres més representatives del dibuix automàtic i la il·lustració de ciències naturals, per tal d'analitzar les seves característiques principals i aprofundir en el vincle entre aquests modes de dibuixar i la visualitat. També assenyalarem alguns limitants creatius trobats en les dues estratègies gràfiques. El tercer capítol és aquell en què "creuarem" la informació exposada en dels dos anteriors per tal d'evidenciar que, tot i que hi ha innegables diferències, existeixen també un bon nombre de similituds que fan possible la trobada de tots dos modes de dibuixar en un mateix discurs artístic. De fet, presentarem l'obra d'una sèrie de creadors que han alternat ambdós llenguatges visuals i aprofundirem en la producció artística de tres artistes fonamentals en la producció artística de l'autor d'aquesta tesi: Max Ernst, Terry Winters i Luís Gordillo. Aquests creadors han combinat de manera fecunda el dibuix automàtic amb una al·lusió a l'imaginari de ciències naturals per reflexionar de manera precisa sobre els seus processos psíquics i enriquir plàsticament el seu discurs artístic. Tant a Gordillo com a Winters vam poder preguntar-los directament sobre qüestions substancials en aquesta investigació, per això hem transcrit de manera íntegra les entrevistes realitzades i les hem annexat al final del capítol perquè puguin consultar-se en la seva totalitat. En aquest capítol també presentarem l'obra de Julio López Tornel, realitzant un repàs cronològic a la seva evolució gràfica per tal de descriure el seu desenvolupament creatiu i evidenciar les connexions entre les intuïcions sorgides de la pràctica artística i les reflexions teòriques de caràcter general. Finalment, hem inclòs unes conclusions en les que fem balanç del que s'ha exposat al llarg de la investigació i tractem de dilucidar fins a quin punt les intuïcions inicials sorgides de la pràctica artística de l'autor eren errades o, per contra, anticipaven aspectes que després han esta / López Tornel, J. (2017). La ilustración de ciencias naturales y el automatismo gráfico como paradigmas de la búsqueda de objetividad y subjetividad a través del dibujo. Estudio teórico práctico [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/78619 / TESIS

The history of translation has been built on the notions that the translator either leaves the writer alone and moves towards the reader (domesticating the text), or leaves the reader alone and moves towards the writer (foreignising the text). These strategies have been called many names, but the translator has always been faced with the choice between domesticating or foreignising the target text. This study considers the options available to a translator when translating the proper nouns and neologisms in a fantasy novel. The translator should not move towards and stand next to the reader to create a target text that is unrecognisable compared to the source text. At the same time, the translator cannot remain next to the writer and thus not change the proper nouns and neologisms to ensure that the target-text readers can understand all – or most of – the potential meanings. If the translator does not move closer to the readers, they cannot have the same experience as source-text readers. This study looks at the translation theories, strategies and procedures that can be applied when translating proper nouns and neologisms used in Terry Pratchett’s Small Gods. It is limited to the study of the neologisms that act as proper nouns, and does not look at other neologisms in the novel. The study identifies translation procedures that retain the meaning potential of the proper nouns and neologisms in the source text in the process of translating them into an Afrikaans target text. It compares the procedures that may have been used by the Dutch translator, by Venugopalan Ittekot, of the novel, Kleingoderij, into Dutch with the procedures that are identified to be used by a translator of the text into Afrikaans. This study identifies the procedures most appropriate to a possible translation of proper nouns and neologisms in Small Gods to Afrikaans in order to retain the meaning potential. The translation procedures that has been identified are addition, cultural adaptation, internationalisation, literal translation, neutralisation, substitution, transference, transliteration and transposition. These procedures can be used to attain equivalence at word level and in such a way that the meaning-potential is retained. / Dissertation (MA) University of Pretoria, 2016. / African Languages / MA / Unrestricted

This essay is a creative study of how characters are depicted in Terry Pratchett’s Discworld, based on three novels of Pratchett, translated to Swedish: Häxor i Faggorna (1994), Svinvinternatt (2005), and Levande musik (2001). The creative part will be a short story written by me, where I put the well-known character Näcken from Swedish folklore into Pratchett’s imaginary world Discworld. I will use two academic texts about Näcken, Näcken (2008) by Jochum Stattin and Erotiska väsen(2010) by Ebbe Schön, as a base for my creative writing. To study how Pratchett writes and uses allusions in his works, White Knowledge and the Cauldron of story: The Use of Allusion in Terry Pratchett’s Discworld by William T. Abbott and The intertextual use of the Fairy Tale in Postmodern Fiction by Kevin P. Smith will guide me. The purpose of this essay is to study how Pratchett changed folklore characters to fit into his world.

Stop-and-frisk has become a significant issue of debate in recent years with both the constitutionality and effectiveness of the practice coming into question. The New York City Police Department (NYPD) has especially come under scrutiny for their stop-and-frisk program in recent years with researchers finding that minorities and the disadvantaged were being targeted by the NYPD during stop-and-frisk encounters. The majority of the research had focused on New York City, and thus there was little data on the use of stop-and-frisk in other jurisdictions. Moreover, there were few studies that examined officer characteristics, such as college education, agency size, etc., on stop-and-frisk and their effect on officers’ understanding of Terry v. Ohio and the legal standard of reasonable suspicion. It was important to understand what extralegal factors police officers were considering prior to stopping someone to ensure that they were not profiling suspects. Moreover, it was necessary to determine if the officers were following the law regarding what factors constitute reasonable suspicion. A qualitative research design in the form of a case study was utilized to explore how college-educated police officers in small to mid-sized agencies in suburban Western Pennsylvania describe the factors that lead to their decision to stop-and-frisk an individual. The participating police officers possessed either a bachelor’s degree or master’s degree with varying levels of rank and experience. The officers were interviewed in person and questioned regarding their stop-and-frisk practices as well as their understanding of the legal requirements necessary prior to conducting such encounters. A general inductive approach was utilized to analyze the data. NVivo software was utilized to identify categories and themes within the participant interviews consistent with a general inductive approach. A number of categories were identified in reference to how the officers described the legal and extralegal factors that led to their decision to stop-and-frisk when the interview responses were analyzed.

A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in partial fulfillment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016 / The aim of this paper is to investigate how the different types of humour in Neil Gaiman and Terry Pratchett's Good Omens have been translated into French and German as De Bons Présages and Ein Gutes Omen, respectively. This study applies frame semantics to analyse how the translators recreated the humour of the ST in the instances that they were able to do so. This theory examines how context is created and what expectations arise from an individual’s knowledge of context i.e. their understanding of the context and what the reader or hearer associates with it. The novel involves several subplots, but the same humorous elements such as puns, parody and an invented archaic variety of English appear throughout the book and it is the aim of this study to determine how these elements were dealt with by the translators. I will compare the two translations and determine how, and if each translator was able to recreate the same frames that made the ST humorous. / MT2017

In the last twenty years, Terry Pratchett's Discworld series has become very popular. Pratchett's success hinges in part on his use of allusion, in what Tolkien called the "Cauldron of Story," and what Pratchett refers to as "white knowledge." This paper explores the Discworld novels and illustrates Pratchett's use and success of storytelling through a few key directions: folk tales, fantasy literature, movies, and rock music. Pratchett has received limited critical review, mostly of a negative nature, while producing a strong literary series, one crafted with both obvious and subtle recognition of his genre's sources. While standing on the shoulders of giants, Pratchett both respects and scrutinizes the myths and stories that construct our reality. Critically, Pratchett's fiction deserves more respect and closer study; this paper attempts to give him his due.

Often overlooked in the study of nineteenth-century American literature, the New England writer Rose Terry Cooke elicited great popular appeal during the peak of her career. The admiration Cooke received from her readers and fellow writers compels one to question Cooke’s present-day obscurity. Cooke’s fiction and poetry seem inconsistent with the attitudes she express in her non-fiction, particularly concerning religion and women’s suffrage. She portrays women in miserable marriages, desperately looking for an escape. These “brides of Bluebeard” find different ways to cope with their predicament. While most never truly escape, many use (1) religious devotion, (2) masochism, and (3) homosocial relations as “coping mechanisms” in their plight. I identify each of these reactions to Bluebeard figures in Cooke’s writing in order to understand the contradictions in her works, for, like Cooke, these brides were products of their culture, torn between duty to self and duty to others.