When I write I, I also write we (say we also write that we’re momentarily in possession of the possibilities, and as for the possibilities: they have us), as in my hyperbolic twin brother and I, and from that point on (as well as before) in company with the gaps between us. The auto-corrections, the imposed circumstances, the complicities, and some conspirationalist copings within a system with no clearly identifiable nemesis. Here, the act of resistance to whatever is playing us, also enacts the playing of that which plays us. The heinous power of family and narrative insists. Two lead narratives are interwoven during the course of time it took for a pizza to be delivered (from pizzeria Marco Polo): Looping on a Panasonic Viera TX-55AX630E, the  search for a/my lost and/or hidden dad arrives through the mispronunciation of the word “that” during a negotiation in a park. Where a tangled hypothesis, along the lines of “what if the plot device of a shot of a moon in a video used to forward time (as in an alternative to ‘later that night’) was a graphic representation of an analog clock recognized in a to-be sliced pizza that is eventually consumed as a means to induce a food coma?” takes place (and time, as saved time is always already lost). It’s almost dark already. Also it's not, and the future held hostage by the river of the forest of the woods is followed by the sense of not being able to tell if there’s an emotion or a feeling present. Visits from passed pasts. It all starts to feel originatory. Thanks to X, this keeps on happening, thoughts and behaviours about suspicious timing and holistic systems keep on happening. This keeps on happening, and it works its way into physical works in an exhibition space with no reference to an infirmary, where parrot tulips are emotional flowers, a print is printed using a temperamental printer, sawdust creates glossy eyes, and all locked doors are eventually keyed out. An investigation into conditions of influence, co-authorship, connectivity, all within a space cohabited by comedy, sentimentality, and other states subject to flatness.

Au cours des dernières décennies, les fournisseurs de services (SP) ont eu à gérer plusieurs générations de technologies redéfinissant les réseaux et nécessitant de nouveaux modèles économiques. Cette évolution continue du réseau offre au SP l'opportunité d'innover en matière de nouveaux services tout en réduisant les coûts et en limitant sa dépendance auprès des équipementiers. L'émergence récente du paradigme de la virtualisation modifie profondément les méthodes de gestion des services réseau. Ces derniers évoluent vers l'intégration d'une capacité « à la demande » dont la particularité consiste à permettre aux clients du SP de pouvoir les déployer et les gérer de manière autonome et optimale. Pour offrir une telle souplesse de fonctionnement, le SP doit pouvoir s'appuyer sur une plateforme de gestion permettant un contrôle dynamique et programmable du réseau. Nous montrons dans cette thèse qu'une telle plate-forme peut être fournie grâce à la technologie SDN (Software-Defined Networking). Nous proposons dans un premier temps une caractérisation de la classe de services réseau à la demande. Les contraintes de gestion les plus faibles que ces services doivent satisfaire sont identifiées et intégrées à un modèle abstrait de leur cycle de vie. Celui-ci détermine deux vues faiblement couplées, l'une spécifique au client et l'autre au SP. Ce cycle de vie est complété par un modèle de données qui en précise chacune des étapes. L'architecture SDN ne prend pas en charge toutes les étapes du cycle de vie précédent. Nous introduisons un Framework original qui encapsule le contrôleur SDN, et permet la gestion de toutes les étapes du cycle de vie. Ce Framework est organisé autour d'un orchestrateur de services et d'un orchestrateur de ressources communiquant via une interface interne. L'exemple du VPN MPLS sert de fil conducteur pour illustrer notre approche. Un PoC basé sur le contrôleur OpenDaylight ciblant les parties principales du Framework est proposé.Nous proposons de valoriser notre Framework en introduisant un modèle original de contrôle appelé BYOC (Bring Your Own Control) qui formalise, selon différentes modalités, la capacité d'externaliser un service à la demande par la délégation d'une partie de son contrôle à un tiers externe. Un service externalisé à la demande est structurée en une partie client et une partie SP. Cette dernière expose à la partie client des API qui permettent de demander l'exécution des actions induites par les différentes étapes du cycle de vie. Nous illustrons notre approche par l'ouverture d'une API BYOC sécurisée basée sur XMPP. La nature asynchrone de ce protocole ainsi que ses fonctions de sécurité natives facilitent l'externalisation du contrôle dans un environnement SDN multi-tenant. Nous illustrons la faisabilité de notre approche par l¿exemple du service IPS (système de prévention d'intrusion) décliné en BYOC. / Over the past decades, Service Providers (SPs) have been crossed through several generations of technologies redefining networks and requiring new business models. The ongoing network transformation brings the opportunity for service innovation while reducing costs and mitigating the locking of suppliers. Digitalization and recent virtualization are changing the service management methods, traditional network services are shifting towards new on-demand network services. These ones allow customers to deploy and manage their services independently and optimally through a well-defined interface opened to the SP¿s platform. To offer this freedom to its customers, the SP must be able to rely on a dynamic and programmable network control platform. We argue in this thesis that this platform can be provided by Software-Defined Networking (SDN) technology.We first characterize the perimeter of this class of new services. We identify the weakest management constraints that such services should meet and we integrate them in an abstract model structuring their lifecycle. This one involves two loosely coupled views, one specific to the customer and the other one to the SP. This double-sided service lifecycle is finally refined with a data model completing each of its steps.The SDN architecture does not support all stages of the previous lifecycle. We extend it through an original Framework allowing the management of all the steps identified in the lifecycle. This Framework is organized around a service orchestrator and a resource orchestrator communicating via an internal interface. Its implementation requires an encapsulation of the SDN controller. The example of the MPLS VPN serves as a guideline to illustrate our approach. A PoC based on the OpenDaylight controller targeting the main parts of the Framework is proposed. We propose to value our Framework by introducing a new and original control model called BYOC (Bring Your Own Control) which formalizes, according to various modalities, the capability of outsourcing an on-demand service by the delegation of part of its control to an external third party. An outsourced on-demand service is divided into a customer part and an SP one. The latter exposes to the former APIs which allow requesting the execution of the actions involved in the different steps of the lifecycle. We present an XMPP-based Northbound Interface (NBI) allowing opening up a secured BYOC-enabled API. The asynchronous nature of this protocol together with its integrated security functions, eases the outsourcing of control into a multi-tenant SDN framework. We illustrate the feasibility of our approach through a BYOC-based Intrusion Prevention System (IPS) service example.

The aim of this study is to highlight the significance of the prohibition of making any image of God as found in the second commandment of the Decalogue in Exodus 20:4-6 with its inner-biblical interpretations in Exodus 32:1-6 and in Isaiah 40:18-20. This study has discussed the close connection between the prohibition of making any image of God in the second commandment of the Decalogue, the idea of Yahweh’s incomparability in the introduction and the command to worship God only in the first commandment. God’s incomparability prevents Israel from worshipping any other god by making images of them or making any image of God. The ‘construct of the introduction and the first two commandments of the Decalogue’ serves as a linchpin concept in our understanding of the prohibition of making any image of God. The aniconism matriculated in the second commandment of the Decalogue in Exodus 20:4-6 in relation with the introduction and the first commandment in Exodus 20:2-3 forms the basis for the prohibition of making any image of God from the Sinai event onwards. This construct in Exodus 20:2-6 is shared with Exodus 32:1-6 and Isaiah 40:18-20. There an inner-biblical interpretation of the aniconism of the second commandment of the Decalogue in Exodus 20:4-6 in reaction with the introduction and the first commandment in Exodus 20:2-3 explicates and applies the meaning of the command in a new situation. Chapter 1 deals with the statement of the problem and the hypothesis of this study, its methodology, theological rationale, and the aim of this study. Chapter 2 discusses that the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6 is important, not only as a phenomenon in the Pentateuch, but also as the provenance of aniconism in the rest of Old Testament. Exodus 20:4-6 can be considered as the explicit traceable provenance of the prohibition of making any image of God in the Pentateuch and the rest of Old Testament. The ‘introduction and first two commandments of the Decaologue construct’ provides a framework within which the meaning of the prohibition of making any image of God in the second commandment can be understood in the context of the introduction of the Decalogue in Exodus and the first commandment of the Decalogue. The second commandment of the Decalogue is sometimes backed up by only the first commandment of the Decalogue and sometimes by both of them. The origin of the second commandment of the Decalogue in Exodus 20:4-6 as the prohibition of making any image of God whether it comes from the early or later stages of Israel’s history is discussed with the discussion on the arrangement of the Decalogue in the Sinai pericope (Ex 19:1-24:11) and the relation between the two Decalogues in Exodus 20:2-17 and Deuteronomy 5:6-21. The sharp differences of opinions on the provenance of the prohibition in the second commandment of the Decalogue in Exodus 20:4-6 is dealt with. This study supposes that the dating of the prohibition on making any image of God of the Decalogue should be attributed to Moses’ time as stated in the text of the Pentateuch. Chapter 3 deals with one key Pentateuchal text for the prohibition of making any image of God, Exodus 32:1-6, as an example that the second commandment represents the prohibition on making any image of God in relation with the introduction and the first commandment of the Decalogue proclaiming God’s incomparability, which is called ‘the introduction and the first two commandments of the Decalogue construct’ in this study. Exodus 32:1-6 is regarded to be an interpretation of the prohibition of making any image of God in the second commandment of the Decalogue in Exodus 20:4-6. Chapter 4 deals with Isaiah 40:18-20, which forbids idol-fabrication and the worship of an image of God in its relation with the proclamation of God’s incomparability, as well as with the worship of other gods and their images. This chapter deals with the similarity of the negative attitude toward worship of God through images found in the legal and prophetical parts of the Hebrew Bible. Theologically speaking, Isaiah’s message is in line with the Pentateuch, and flows from the office of the prophet as a plenipotentiary of God to condemn the transgression of the covenantal law. This similarity of the idea between them is seen in respect of its linguistic aspects. Considering the rules of the nature of analogies between texts, there can be seen a correlation between the introduction and first two commandments of the Decalogue in Exodus 20:2-6 and the passage dealing with the incomparability of God and the idol-fabrication in Isaiah 40:18-20. The final chapter summarizes the flow of the argument in this thesis dealing with three phenomena of aniconism in the Old Testament and suggests the conclusion of this thesis based on the result of the exegetical and thematic study on the three passages. / Thesis (PhD)--University of Pretoria, 2011. / Old Testament Studies / unrestricted

No description available.

The aim of this Master Thesis is to present an annotated translation of the first chapter of the novel Die Waffen nieder! (1889) from Bertha von Suttner that is presently functional. The novel was already translated under the title Odzbrojte! (1896). The first part of this Master Thesis contains the Czech translation of the first chapter from the novel itself. The second part, which is a translation commentary, divided into subchapters. The beginning of the translation commentary explains the choice of the original text and presents a detailed translation analysis. The next part of the translation commentary contains information about the strategy of solving translation problems, translation shifts and collaborative translation. Key Words: Bertha von Suttner, Die Waffen nieder!, Lay Down Your Arms!, translation analysis, translation commentary, translation problems, translation shifts

Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de ses documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / La présente thèse étudie l’hypersexualisation des jeunes filles en tant que phénomène culturel contemporain. En mettant à profit une approche conceptuelle psychanalytique et féministe, la thèse tente de comprendre le rôle joué par le regard, le désir et le fantasme dans ce phénomène. S’éloignant volontairement des discours critiques existant sur le sujet, l’objectif est de voir comment le cinéma peut mener son spectateur à confronter les dimensions plus radicales (incestueuse, pédophile et œdipienne) de l’image d’une jeune fille hypersexualisée. Le parcours argumentaire se divise en trois parties. La première partie effectue un inventaire sommaire des études portant sur l’hypersexualisation des jeunes filles. Tout en constatant l’actuelle pornographisation du paysage médiatique contemporain, le lecteur est amené à prendre connaissance de la nature alarmiste et foncièrement iconophobe de ces discours critiques, qui accordent peu d’attention à la dimension fantasmatique du phénomène. Une rétrospective des réflexions féministes sur le regard et le désir vient ensuite orienter le parcours vers les enjeux liés à la représentation médiatique de la féminité, ainsi que son lien avec le regard et le désir cinématographiques. La deuxième partie s’attarde aux discours féministes portant sur la représentation de la Femme en tant que signe. Constatant les limites de la traditionnelle dichotomie ange/putain, un modèle permettant de penser la féminité médiatique en termes archétypaux est proposé. Après avoir démontré l’opérativité analytique de ce modèle à travers la lecture du film 3 Women (Altman 1977), une analyse approfondie du film The Virgin Suicides (Coppola 1999) permet d’isoler une mise en image des envers problématiques de la féminité fantasmée. La troisième partie de la thèse introduit le paradigme lacanien contemporain propre aux études cinématographiques, afin de mener le lecteur à considérer sous un autre jour les questions du regard, du désir et du fantasme. La jeune fille hypersexualisée est alors abordée comme une version contemporaine et inversée du fantasme originaire œdipien. Par les analyses des films American Beauty (Mendes 1999) et Exotica (Egoyan 1994), le cinéma se révèle comme un discours culturel possédant la capacité de mener son spectateur vers une traversée du fantasme de la jeune fille hypersexualisée. / This thesis studies the sexualization of young girls as a contemporary cultural phenomenon. Through a feminist and psychoanalytical approach, the thesis attempts to isolate the functioning of the gaze, desire and fantasy within this phenomenon. Through a voluntary dissociation from existing critical discourses dealing with this topic, the main objective is to understand how cinema can bring its spectator to confront the radical dimensions (incestuous, pedophiliac and Œdipal) associated with the image of a sexualized girlhood. The thesis is divided into three parts. Part one begins with a brief inventory of existing literature on the sexualization of girlhood. While ascertaining the pornographication of contemporary mediascapes, the reader is brought to grasp the alarmist and iconophobic nature of existing critical discourses dealing with this phenomenon. Indeed, it is shown how they pay very little attention to the fantasmatic nature of the sexualized young girl. A feminist retrospective on the topics of desire and the gaze then orients the discussion towards issues related to media representations of femininity. Part two begins by focusing on feminist studies of Woman as sign. Following the highlighting of the conceptual limits associated with the typical angel/whore dichotomy, an archetypal model aimed at rethinking media representations of femininity is proposed. After demonstrating the analytical operability of this model through the study of Robert Altman’s 3 Women (1977), an extensive analysis of Sofia Coppola’s The Virgin Suicides (1999) allows the exploration of cinema’s ability to represent the problematical undersides of the fantasy of femininity. Part three focuses on contemporary Lacanian film studies in order to bring the reader to consider a more radical approach to questions pertaining to the gaze, desire and fantasy. The sexualized young girl is then studied as a contemporary, inverted version of the primal Œdipal fantasy. Through the analyses of Sam Mendes’ American Beauty (1999) and Atom Egoyan’s Exotica (1994), the cinema is revealed as a cultural discourse that holds the ability to bring its viewer to traverse the fantasy of sexualized girlhood.

<p> </p><p>A person with borderline personality disorder, which is a mental illness, can be described as emotionally instable. As a relative of a person with borderline personality disorder one often feels a sense of despair, anxiety and fear. The essay’s purpose was to get an understanding of what it means to be a relative of a person with borderline personality disorder. We wanted to see the relative’s relationship from two perspectives, both from the relative’s perspective and from the professional’s perspective. The essay was a qualitative study with a phenomenological approach. The results were structured into five themes. These were: Growing up, To be diagnosed, Life with borderline, The present, and The future. The results were analyzed against coping. A qualitative analysis was conducted. The results showed that life as a relative of a person with borderline personality disorder in many cases can be stressful. For example, they adapted their own life very much. Blame from the healthcare system and from the surrounding environment seemed to be a prominent feature of the family.</p><p> </p> / <p> </p><p>En person med borderline personlighetsstörning, som är en psykisk sjukdom, kan beskrivas som emotionell instabil. Som anhörig till en person med borderline personlighetsstörning kan man känna oro, rädsla och förtvivlan. Uppsatsens syfte var att få förståelse för hur det är att vara anhörig till en person med borderline personlighetsstörning. Anhörigskapet studeras från två perspektiv: dels från anhörigas och dels från professionellas. Uppsatsen var en kvalitativ studie och hade en fenomenologisk ansats. Resultatet strukturerades i fem teman: Uppväxt, Att få diagnosen, Livet med borderline, Nutid och Framtid. Resultatet analyserades mot copingbegreppet. En kvalitativ analys genomfördes. Resultatet visade att livet som anhörig till en person med borderline personlighetsstörning i många fall kan vara påfrestande då de till exempel fick anpassa sitt eget liv. Skuldbeläggande från sjukvården och från omgivningen verkade vara en återkommande erfarenhet.</p><p> </p>

A person with borderline personality disorder, which is a mental illness, can be described as emotionally instable. As a relative of a person with borderline personality disorder one often feels a sense of despair, anxiety and fear. The essay’s purpose was to get an understanding of what it means to be a relative of a person with borderline personality disorder. We wanted to see the relative’s relationship from two perspectives, both from the relative’s perspective and from the professional’s perspective. The essay was a qualitative study with a phenomenological approach. The results were structured into five themes. These were: Growing up, To be diagnosed, Life with borderline, The present, and The future. The results were analyzed against coping. A qualitative analysis was conducted. The results showed that life as a relative of a person with borderline personality disorder in many cases can be stressful. For example, they adapted their own life very much. Blame from the healthcare system and from the surrounding environment seemed to be a prominent feature of the family. / En person med borderline personlighetsstörning, som är en psykisk sjukdom, kan beskrivas som emotionell instabil. Som anhörig till en person med borderline personlighetsstörning kan man känna oro, rädsla och förtvivlan. Uppsatsens syfte var att få förståelse för hur det är att vara anhörig till en person med borderline personlighetsstörning. Anhörigskapet studeras från två perspektiv: dels från anhörigas och dels från professionellas. Uppsatsen var en kvalitativ studie och hade en fenomenologisk ansats. Resultatet strukturerades i fem teman: Uppväxt, Att få diagnosen, Livet med borderline, Nutid och Framtid. Resultatet analyserades mot copingbegreppet. En kvalitativ analys genomfördes. Resultatet visade att livet som anhörig till en person med borderline personlighetsstörning i många fall kan vara påfrestande då de till exempel fick anpassa sitt eget liv. Skuldbeläggande från sjukvården och från omgivningen verkade vara en återkommande erfarenhet.

Syftet med det självständiga arbetet var att undersöka hur äventyrspedagogik tillämpas i en Reggio Emilia-inspirerad förskola. Genom att jämföra dessa pedagogiker kan man få syn på likheter och skillnader som motiverar tillämpningens betydelse för barns lärandeprocesser. Undersökningen fick sitt praktiska utförande i en skogsmiljö på en av förskolorna, där två förskollärare hade teoretiska kunskaper inom äventyrspedagogik och Reggio Emilia. Tio pedagoger och en förälder deltog som observatörer i äventyret. Utöver dessa deltog två studenter från förskollärarutbildningen, Stockholms universitet som också är författarna till denna undersökning. Deras observationer och intervjusvar från de två förskollärarna ingår i undersökningen. I äventyret deltog femtiofem sexåringar från fem förskolor inom enheten. Utformningen av äventyret bestod av sju stationer med diverse samarbetsövningar där utmaningarna i övningarna hade olika svårighetsgrader. Barnen skulle utmanas i och få utforska sina frågor i en spännande miljö med hela kroppen. Det framkom att resurser i form av tid för planering, föräldrar och pedagoger ute i äventyret både som observatörer och som säkerhet och trygghet krävdes. Resultatet av vår undersökning visar att tillämpningen av äventyrspedagogik med sin syn på sinnliga samspelsövningar med motoriska inslag och med naturen som stöd, berikar och kompletterar förskolors arbete med barns lärandeprocesser samt Reggio Emilias syn på barns möjligheter till utveckling och lärande. / The purpose of the independent work was to investigate the adventure pedagogy applied in a Reggio Emilia-inspired preschool. By comparing these pedagogies can catch sight of the similarities and differences that justify the application's impact on children's learning processes. The survey received a practical point in a woodland setting on one of the pre-schools, where two preschool teachers had theoretical knowledge in adventure education and Reggio Emilia. Ten teachers and a parent participated as observers in the adventure. In addition to these two students attended from preschool teacher, Stockholm University, who is also the authors of this study. Their observations and interview responses from the two preschool teachers surveyed. The adventure took fifty-six year olds from five kindergartens within the unit. The design of the adventure consisted of seven stations with various team-building exercises where the challenges of the exercises had different difficulty levels. The children were challenged to explore and get their questions in an exciting environment with your whole body. It was revealed that the resources in terms of time for planning, parents, and educators around the adventures both as observers and that safety and security was required. The results of our study show that the application of adventure education with its view of sensuous interplay exercises with motor elements and with nature that support, enrich and complement förskolors work with children's learning processes and the Reggio Emilia approach to children's opportunities to learn and develop. / <p>Sebastian Palm har efter att uppsatsen skrevs bytt efternamn till Denus.</p>