A presente dissertação examina os diferentes elementos do sobrenatural encontrados em três peças do dramaturgo irlandês Conor McPherson: St Nicholas (1997), The Weir (1997) e The Seafarer (2006). Observa-se que o uso do sobrenatural é recorrente em sua obra, embora ele empregue elementos diferentes em cada uma das peças com o objetivo de retratar as angústias e os problemas existenciais do homem contemporâneo. St Nicholas é uma paródia das histórias de vampiros, em The Weir o autor recorre à tradição oral irlandesa do contador de histórias e em The Seafarer re-escreve a lenda de Fausto. / The present dissertation examines different elements of the supernatural found in three plays by the Irish playwright Conor McPherson: St Nicholas (1997), The Weir (1997) and The Seafarer (2006). The supernatural is a recurrent feature in McPhersons work, although he makes use of different elements in each of his plays with the aim of depicting the anxieties and existential problems of contemporary man. St Nicholas is a parody of vampire stories; in The Weir the author resorts to the Irish oral tradition of storytelling; and in The Seafarer he rewrites Fausts legend.

No Estado de São Paulo, a Coordenadoria de Defesa Agropecuária CDA, Unidade da Administração Direta, subordinada à Secretaria Estadual da Agricultura, foi criada em 1998. Subseqüentemente a elevada freqüência de surtos de raiva paralítica em herbívoros na parte leste do Estado, incluindo as regiões do Vale do Paraíba e Grande São Paulo, entre 1999 e 2001, obrigou mudanças nas estratégias de controle para a doença, que vinha sendo adotada anteriormente no Estado. Em 2001, a vacinação dos herbívoros domésticos foi declarada obrigatória nas regiões sobre a circunscrição dos Escritórios de Defesa Agropecuária EDAs, localizados nas áreas classificadas como áreas epidêmicas e endêmicas para a raiva e com o reforço das medidas de controle direto contra o Desmodus rotundus, morcegos vampiros, utilizando redes de neblina e vampiricidas (pasta nticoagulante), além do registro e do georreferenciamento para a localização dos abrigos, nas regiões estratégicas em ordem contrária a progressão da doença, causando a redução da população de morcegos vampiros e da circulação viral. Neste estudo, foi considerado o número de herbívoros com raiva com confirmação laboratorial e de acordo com o ano de ocorrência, espécie animal, distribuição por EDAs e por Municípios, providenciados pelo Instituto Pasteur de São Paulo. Com respeito à data de 2001, as porcentagens de vacinação, foram agrupadas sem as divisões por EDAs, devido à ausência de dados. A partir de 2002, os dados foram divididos por EDAs, onde a vacinação foi declarada obrigatória e os dados foram discriminados entre estabelecimentos que vacinaram e herbívoros vacinados contra raiva. O número de morcegos vampiros capturados agrupados por EDAs. Analisando as tendências, indicando os estabelecimentos que vacinaram, herbívoros vacinados contra raiva e a quantidade de morcegos vampiros capturados, foi observado um decréscimo nos casos de raiva em 90% ou mais e com estes resultados, concluiu-se que para o controle da raiva nos herbívoros, as medidas adotadas devem ser focadas, primeiramente na vacinação das espécies alvo e no bom planejamento e organização das medidas de controle diretamente nos principais reservatórios de Desmodus rotundus. / In the State of São Paulo, the Coordenadoria de Defesa Agropecuária-CDA, an administrative unit directly subordinated to the State Secretary of Agriculture was established in 1998. Subsequently, the frequent outbreaks of paralytic rabies in herbivores in Eastern part of the State, including the region of Vale do Paraiba and the Greater São Paulo, between 1999 and 2001, have led to change the strategies for controlling the disease being conducted up to that time in the State. In 2001, the vaccination of domestic herbivores was declared obligatory in regions under the jurisdiction of Escritórios de Defesa Agropecuária - EDAs located in areas classified as rabies epidemic and endemic, and by the reinforcement of the control measures directed against the Desmodus rotundus vampire bats by means of joint effort of EDAs to capture and control the bats using mist nets and the vampiricides (anticoagulant paste), besides the registration, revision and the use of geographical information systems to locate the bats roosts and shelters in strategic regions, in order to interrupt the progression of the disease through the reduction of the bat population density and the viral circulation. In this study, it was considered the number of rabies in herbivores with laboratorial confirmation and according to the year of occurrence, animal species, and distributed by EDAs and by municipalities, provided by the Pasteur Institute-São Paulo. Data regarding 2001, the percentages of vaccination were grouped without the division into EDAs, due to the absence of data. From 2002, the data were divided into EDAs where vaccination has been declared obligatory, and data discriminated into properties that vaccinated and herbivores vaccinated against rabies. The number of captured vampire bats was provided by the respective EDAs. By analyzing the trends indicated by the properties that vaccinated against rabies and the herbivores vaccinated and the amount of vampire bats captured, it was observed a decrease in rabies cases in 90% or more, and with these results we conclude that for the control of rabies in herbivores, the easures adopted must be focused primarily in vaccinating the target animal species and in a well planned and organized measures of control directed to the main reservoirs, i.e., the Desmodus rotundus bats.

A presente dissertação examina os diferentes elementos do sobrenatural encontrados em três peças do dramaturgo irlandês Conor McPherson: St Nicholas (1997), The Weir (1997) e The Seafarer (2006). Observa-se que o uso do sobrenatural é recorrente em sua obra, embora ele empregue elementos diferentes em cada uma das peças com o objetivo de retratar as angústias e os problemas existenciais do homem contemporâneo. St Nicholas é uma paródia das histórias de vampiros, em The Weir o autor recorre à tradição oral irlandesa do contador de histórias e em The Seafarer re-escreve a lenda de Fausto. / The present dissertation examines different elements of the supernatural found in three plays by the Irish playwright Conor McPherson: St Nicholas (1997), The Weir (1997) and The Seafarer (2006). The supernatural is a recurrent feature in McPhersons work, although he makes use of different elements in each of his plays with the aim of depicting the anxieties and existential problems of contemporary man. St Nicholas is a parody of vampire stories; in The Weir the author resorts to the Irish oral tradition of storytelling; and in The Seafarer he rewrites Fausts legend.

Ina Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 87-90). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Table of Contents --- p.ii / Abstract --- p.iii / Introduction --- p.1 / The Gendered Vampires in Contemporary Culture / Vampires and Contemporary Culture --- p.1 / Woman/Lesbian as Vampire --- p.7 / "Ortner and ""the Angel in the House""" --- p.9 / "Mulvey, Postfeminist Media Critics and the Female Body" --- p.10 / Butler and the Lesbian Phallus --- p.12 / Feminism and Postfeminisms --- p.14 / Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18 / Woman and Nature --- p.18 / The Angel and the Woman Vampire --- p.23 / The Postmodern Dracula --- p.33 / Conclusion --- p.39 / Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40 / The Male Gaze --- p.40 / """When the Woman Looks"" at a Woman" --- p.47 / The Postmodern Female Body --- p.56 / Conclusion --- p.58 / Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60 / The Lacanian Phallus --- p.60 / The Lesbian Phallus --- p.64 / The Lesbian Vampire --- p.67 / The Dark Kiss and Female Sexual Pleasures --- p.70 / Conclusion --- p.78 / Conclusion --- p.81 / Towards an Autonomous Representation of Womanhood / Bibliography --- p.87

Made available in DSpace on 2016-04-27T19:30:55Z (GMT). No. of bitstreams: 1 Fabricio Pereira Korasi.pdf: 5485852 bytes, checksum: 03bfd5f7af32afbc8ebc1b454fab7ae3 (MD5) Previous issue date: 2014-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper analyzes the characteristics of the aesthetics of romanticism through the vampire myth. An analytic trajectory since vampires, or undead, from Antiquity until the construction of the Vampire Romantic Classic, created by Bram Stoker: Dracula. From that stereotype created, the figure of romanticism and the vampire were reproduced and adapted to prevailing social time, culminating in the creation of the Vampiro Malhação. All this history is important to understand how the aesthetic of romanticism are present until the present day / Esse trabalho faz uma análise das características da estética do romantismo através do mito do vampiro. Uma trajetória analítica desde vampiros, ou mortos-vivos, da Antiguidade até a construção do Vampiro Clássico Romântico, criada por Bram Stoker: Drácula. A partir desse estereotipo criado, o romantismo e a figura do vampiro foram reproduzidos e adaptados ao momento social vigente, culminando na criação do Vampiro Malhação. Toda essa trajetória é importante para perceber como que as características estéticas do romantismo são presentes até os dias de hoje

Made available in DSpace on 2016-04-28T20:15:36Z (GMT). No. of bitstreams: 1 2009 - Julio Cesar Augusto Pompei.pdf: 279592 bytes, checksum: d5618460bc231e06151836a53b7af00a (MD5) Previous issue date: 2009-12-15 / The National Program on Control of Herbivore Rabies (PNCRH) concentrates its actions on population control of the disease s main transmitter, the vampire bat of the Desmodus rotundus species, and favors the use of direct and indirect selective methods. This study sought to evaluate the effectiveness of the VAMPIRICID GEL? for direct selective control of D. rotundus colonies. Six daytime shelters were selected; in each one a count was taken of the live individuals at the time and then again ten days after treatment. Two shelters per treatment Group were addressed. The Vampiricid Gel was applied on the back of vampire bats in 5-percent (Group 1) and of 10-percent (Group 2) samples of the population. For control (Group 3), 10 percent of the D. rotundus bat population was treated with liquid Vaseline. An evaluation was also made of the aggressions by vampire bats on 3,690 bovines and 133 equids on the 22 properties located within a 3-km radius of the shelters. Fisher s Exact and χ2 tests were used with a 1-percent significance level. Under natural conditions, treatment of Groups 1, 2, and 3 reduced by 97.57 percent, 99.30 percent, and 3.6 percent, respectively, the D. rotundus population, and by 92.79 percent, 94.36 percent, and 4.76 percent, respectively, the number of animals attacked, ten days after treatment. Results have shown that the 1-percent VAMPIRICID GEL ? was effective in significantly reducing the bat population and the number of animals attacked in Groups 1 and 2, as compared with Group 3. There was no significant different between Groups 1 and 2 as regards both reduction of the D. rotundus population and the number of animals attacked. Although the use of 1-percent VAMPIRICID GEL ? on 5 percent or 10 percent of the vampire bat population has yielded similar results in the D. rotundus populations in the shelters and thus on attacked bovines and equids, its use on 5 percent of the populations was more effective, given the lower operating cost, and can thus be indicated for direct selective control of D. rotundus. / O Programa Nacional de Controle da Raiva dos Herb?voros (PNCRH) concentra suas a??es no controle populacional de seu principal transmissor, o morcego hemat?fago da esp?cie Desmodus rotundus preconizando a utiliza??o de m?todos seletivos diretos e indiretos. O presente estudo teve como objetivo avaliar a efici?ncia do VAMPIRICID GEL? no controle seletivo direto de col?nias de D. rotundus. Foram selecionados seis abrigos diurnos e em cada um foi realizada a contagem do n?mero de indiv?duos vivos no momento e dez dias ap?s os tratamentos. Utilizaram-se dois abrigos por grupo de tratamento. O gel vampiricida foi aplicado no dorso dos morcegos hemat?fagos em amostras de 5% (grupo 1) e de 10% (grupo 2) da popula??o. Para controle (grupo 3) 10% da popula??o de morcegos D. rotundus foi tratada com vaselina l?quida. Avaliou-se tamb?m a redu??o de agress?es por morcegos hemat?fagos em 3690 bovinos e 133 eq??deos existentes nas 22 propriedades localizadas num raio de 3 km de dist?ncia dos abrigos. Os testes do χ2 e Fisher Exato foram utilizados com n?vel de signific?ncia de 1%. Em condi??es naturais, os tratamentos nos grupos 1, 2 e 3 reduziram em 97,57, 99,30 e 3,6% a popula??o de D. rotundus e em 92,79, 94,36 e 4,76% o n?mero de animais agredidos, respectivamente, 10 dias ap?s os tratamentos. Os resultados obtidos demonstraram que o produto VAMPIRICID GEL ? 1% foi capaz de reduzir significativamente a popula??o de morcegos e o n?mero de animais agredidos nos grupos 1 e 2 quando comparados ao grupo 3. Entre os Grupos 1 e 2 n?o houve diferen?a significativa tanto na redu??o da popula??o de D. rotundus quanto na redu??o do n?mero de animais agredidos. Embora o uso do VAMPIRICID GEL ? 1% em 5% ou 10% da popula??o de morcegos hemat?fagos tenha produzido resultados similares na redu??o da popula??o de D. rotundus nos abrigos, e conseq?entemente do n?mero de bovinos e eq??deos agredidos, o seu uso em 5% da popula??o foi mais eficiente, devido ao menor custo operacional, podendo ser indicado para o controle seletivo direto de D. rotundus.

Excerpt: Besides the lead character herself, the leather-clad vampire Spike -- introduced as the "Big Bad" in Buffy the Vampire Slayer (BtVS) Season 2 -- the most analyzed character in the Buffyverse.

In this article, I argue that the vampires in Charlaine Harris’ Sookie Stackhouse novels illustrate clearly the posthuman self in its connection beyond itself to other vampires, humans, and non-humans. Learning to co-exist becomes problematic in Harris’ series, where we encounter a “new” representation of vampire. These vampires have come out of the coffin, and their revelation allows us to explore how they can be viewed in connection to the human world and how their transcendence can be seen as a move toward posthumanism, as its particular blend of body and community help demonstrate what the self expanded could be. As a species that differs from us “typical” humans and yet must co-exist with us and other non-humans, the posthuman provides a theoretical framework for how we can approach this new representation as a disembodied non-unitary subject. Through their transcendence from the world of the living to the life of the undead, these vampires let us see humanity as a distinct moment in evolution that is a continuous process, not a resolution. There are six areas where we see these common characteristics between posthumanism and Harris’ vampires. The first is the vampire being represented as an other. Like the posthuman, Harris’ vampires are juxtaposed against the human population and because vampires are marked as other this creates tension where they must co-exist with humans and yet still be examined from an anthropocentric perspective. Another way the posthuman allows us to interpret this fear of vampires is from the position of the de-centered human. Because humans prior to the “great revelation” in Harris’ fictional world, believed themselves to be what defined humanism versus their non-human others; they must shift in where they are located on the species podium due to vampires and that creates a fear. Another correlation is that of immortality; which is what vampires inherit when they become a member of the undead, but for the posthuman it is encoding and dematerialization that allows us to transcend these mortal bodies. This notion of disembodiment demonstrates the body being a rhetorical strategy to create an effect, such as manipulation. Since the body for the posthuman is seen as materiality and therefore they are not embedded to only exist within it, the vampire likewise is able to exploit the body in order to accomplish its purpose. Next for the posthuman, transcendence is the way they not only become immortal, but also how they move from identifying as individuals to identifying as part of a larger community. For the vampires in the Stackhouse series, their consciousness lies in their information and not in their material bodies, thus they are able to situate themselves within the larger network with other vampires, humans, and non-humans. And lastly the connection through the exchange of blood, which for the vampire is a literal connection, but for the posthuman is instead an ideal network which removes individuality.

ABSTRACT This dissertation argues that Bella Swan is a representation of Barbara Creed's monstrous-feminine which serves to reinforce ideologies that insist women are abject, inherently dangerous to men, and threatening to a patriarchal status quo. Through close-textual analysis of The Twilight Saga, I demonstrate how the monstrous-feminine frames the hysterical teenage body, hypersexuality, and eternal motherhood as simultaneously unacceptable and unavoidable. These negative women's stereotypes continue to persist in dominant popular culture, and this doublebind is overcome only by the impossible perfection of vampirism. The monstrous-feminine invites constructions of teenage bodies as unstable and unreliable, women's sexuality as dangerous and impure, and motherhood as a requirement for a complete identity. These constructions are particularly dangerous in Young Adult literature and particularly inspirational in fanfiction.

Die ‚’Twilight’‘-Saga der Autorin Stephenie Meyer, welche die Geschichte von dem Vampir Edward und seiner menschlichen Geliebten erzählt, hat eine neue Phase des Vampir-Genres eingeläutet. Fernab von gesellschaftlich verankerten Mythen um die geheimnisvollen und gefährlichen Blutsauger, kreiert die Autorin ein neues Vampirbild. Das einst rücksichtslose, egoistische Monstrum ist gezähmt und tritt in Form eines aufopferungsvollen Liebhabers in Erscheinung. Für die Zielgruppe, weibliche Teenager und junge Erwachsene, ist Edward, der Prototyp des neuen Vampirs, schnell zum Idol avanciert. Rund um die ‚’Twilight’‘-Saga hat sich somit eine riesige, internationale Fangemeinschaft gebildet, die vorwiegend über das Internet den Vampirismus-Diskurs zum populärkulturellen Gegenstand werden ließ. Die neue Vampir-Begeisterung stellt jedoch nur den vorläufigen Höhepunkt einer langen Genre-Geschichte dar. Bereits seit der Entstehung des Vampir-Glaubens übt der Mythos vom blutsaugenden Wesen eine enorme Faszination auf die Menschen aus. Grund dafür ist seine Anlehnung an menschliche, meist tabuisierte Bedürfnisse und Wünsche, die mit Hilfe der Vampir-Metapher zum Ausdruck gebracht werden können. Ziel der vorliegenden Arbeit soll es sein, die Entwicklung des Vampir-Genres und seine Funktionen im Rahmen gesellschaftlicher Kontexte nachzuzeichnen. Zu diesem Zweck erfolgt zunächst ein kurzer Überblick über die Entstehung des Vampir-Mythos und eine Charakterisierung des ‚klassischen‘ Vampirs, wie er im Volksglauben verankert ist. Im Anschluss soll das Vampir-Genre als multidimensionales und historisch variables Genre analysiert werden. Der Schwerpunkt der Betrachtung liegt hierbei auf dem Vampirfilm, welcher sich im Laufe seiner Entwicklung vom Sub-Genre des Horrorfilms zum zielgruppenspezifischen Unterhaltungsmittel ausdifferenziert hat. Abschließend erfolgt eine Skizzierung der aktuellen Vampir-Begeisterung, welche durch die Verfilmung der ’Twilight’-Romane von Stephenie Meyer ausgelöst wurde.