Zombie banks are banks that are practically insolvent but continue to exist through hiding bad loans on their balance sheet. This can be achieved by rolling over bad loans instead of writing them off, a process known as forbearance lending, zombie lending or evergreening. Zombie banks have received increased attention of late, not least because of the sovereign debt and banking crisis in Europe. This follows other banking crises in the US and Japan which have equally seen an increased number of bank failures, and where insolvent companies have been kept alive by banks. This study aims to give a theoretical assessment of the phenomenon around zombie banks and forbearance lending. Although zombie banks are the focus of a wide public debate, the existing research has not been able to fully explain many aspects around them, such as the several motives for forbearance lending, the impact of forbearance lending on the overall portfolio of zombie banks, or the right policy response in dealing with them. In light of this, the study presents three models that simulate the behavior of banks when rolling over bad loans. These models offer insights into the causes and effects of zombie banking, and also allow us to analyze the context of policy measures by the government and the central bank. To put the models into the right context, the study also provides a detailed overview of the theoretical and empirical literature as well as the practical experience with zombie banks and forbearance lending in Japan and Europe.

Made available in DSpace on 2016-04-28T20:38:55Z (GMT). No. of bitstreams: 1 Luciana Guerrieri Barbosa Viana Guimaraes.pdf: 978764 bytes, checksum: fbd979ae8b7167b413c3c89aa21f1734 (MD5) Previous issue date: 2014-08-18 / The research aimed at understanding the motivational factor of registered people participating in the virtual community Zombie walk Rio de Janeiro, placed in the social network website Facebook. Therefore, a survey was applied to men and women with age over 18 (eighteen) years old, registered in the above mentioned community. The survey had 6 (six) identification questions and 6 (six) semi-open questions answered by the internet. To analyze the data, it was used the Thematic Analysis, described by author Douglas Ezzy (2002). From the gathered data, a profile of the zombie character was defined and its context from the Jungian psychology point of view. It was observed that the zombie character represents a metaphor for current constellated complexes associated to feelings of strangeness, bond break, lack of solidarity, existential insecurity, relationship dehumanization, consumerism and fear or denial of death. The conclusion from the analysis of the character is a reflection of the current life panorama in society and relationships, as well as a projection of individual anxieties / A pesquisa realizada visou compreender o fator motivador da participação das pessoas cadastradas na comunidade virtual Zombie walk Rio de Janeiro, presente no website de relacionamento Facebook. Para tanto, foi aplicado um questionário a homens e mulheres acima de 18 (dezoito) anos, cadastrados na comunidade virtual mencionada. O questionário contou com 6 (seis) perguntas de identificação, e 6 (seis) questões semiabertas respondidas via Internet. Para análise dos dados foi utilizado o método de Análise Temática, conforme descrito pelo autor Douglas Ezzy (2002). A partir dos dados levantados, realizou-se uma leitura do personagem zumbi e seu contexto sob a ótica da psicologia junguiana. Foi observado que o personagem zumbi constitui uma metáfora para alguns complexos constelados na atualidade, associados a sentimento de estranheza, ruptura de vínculos, falta de solidariedade, insegurança existencial, desumanização das relações, consumismo e medo, ou negação da morte. Conclui-se que a leitura desse personagem reflete um panorama atual de vida em sociedade e relacionamentos, assim como serve de projeção para angústias individuais

The purpose of this paper is to examine, through the process of close reading, the usage of different motives and narrative perspectives in Max Brooks´ bestselling novel World war Z: An Oral History of the Zombie War, such as narration, the usage of the zombie and moral projections. As this paper also takes an overviewing pedagogic direction, the paper aims to present the positive outcome of reading fiction, in alignment with the envisionment-arguments of Judith A. Langer, and how this can be implemented in the Swedish school system. A great amount of different claims were made in the analysis, due to the setting of the narratological hermeneutic alignment. For instance, the analysis revealed that WWZ could be read as an exposition of human behavior, when pushed to the edge of extinction, but it can also be seen as a mockumentary in book form – exposing some of the backsides of the capitalistic system. As for the pedagogic perspective, Langer’s concept of envisionment shows that merging the reading of fiction with group discussion can widen pupils grasping of different world phenomena, and thus stimulate their will for a lifelong learning, which correlates with one the of the core objectives and values in the Swedish school curriculum.

Vår uppsats kommer beröra Zombies på film och fokusera på filmen Land of the Dead. Många människor upplever zombies som inget mer än monster, en fara för karaktärerna att klara sig undan. Vi vill uppmärksamma att all populärkultur i varierande utsträckning gestaltar verklighet, och analysera hur Zombies används för att gestalta aspekter av vårt samhälle.

This study aims to find out how gender roles are portrayed in the series The Walking Dead. Using a quantitative content analysis where every episode of The Walking Dead was analyzed the study shows gender role portrayal in the everyday activities done by the characters. A qualitative study based on a semiotic analysis was also executed where focus lies on analyzing the characters attributes and their trait of character. The result shows that the series maintains a stereotypical representation of men and women. The men take on the typical “manly” work and the women do the majority of the domestic work. The killing of zombier and humans are mostly done by the men in the series. Their trait of character also shows a stereotypical gender role representation where the men are portrayed as tough, fighters, protectors and providers. The women on the other hand are more weak, sensitive and dependent.

This thesis is a creative work of fiction in the form of one novella and four short stories. The collection is a work of humour and entertainment. “The Coin Collective” delves into the cut-throat world of cosplay, “The Dead of Waynesboro” follows Declan Mortel as her tries to create the ultimate zombie movie in true gothic fashion, “220 Torren Mill Road” is an epistolary horror story about a whack-job mother and her game-addicted son, “Dragon’s Lair Comics & Collectables” is set during a Magic the Gathering tournament and questions ‘what makes a monster?,’ and Chemical Connection explores drug and raver culture through an eclectic variety of characters. I hope the collection will speak to an entire generation of self-described and closet geeks. For those without intimate knowledge of the material, I endeavoured to exhibit, even expose, aspects of specific subcultures, shedding light on the basement dwellers who inhabit them.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2017-09-22T18:59:32Z No. of bitstreams: 2 Dissertação - Raul Dias Pimenta - 2017.pdf: 1424876 bytes, checksum: 0cacb140dd619601c6885ec1f848e218 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-25T11:43:39Z (GMT) No. of bitstreams: 2 Dissertação - Raul Dias Pimenta - 2017.pdf: 1424876 bytes, checksum: 0cacb140dd619601c6885ec1f848e218 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-25T11:43:39Z (GMT). No. of bitstreams: 2 Dissertação - Raul Dias Pimenta - 2017.pdf: 1424876 bytes, checksum: 0cacb140dd619601c6885ec1f848e218 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In 1989 the north-american Bruce Sterling revealed in an interview that he found a new category of a literary genre which combines others genres then forming what he called Slipstream. This mode doesn’t follow a unique standard including even Science-fiction, Gothic and Magic Realism in one work. Since then, twenty years later after his revelation about Slipstream the mode hasn’t become a literary genre yet and littles has been discussed about the present subject. However, there are several questions and suppositions about what it could really be Slipstream and its characteristics to achieve the literary genre title. Although there are few affirmations around the topic, this present work aims to outline the contact point between slipstream and Magic Realism. Genre which shares much in characteristics with the present mode and also to define if Slipstream isn’t another name to Magic Realism. For such proposition, we have taken the literary character undead or nowadays called zombie for analysis. Therefore, we believe that the presence of this literary figure corroborate to the manifestation of the components elements and events of the genres here presented. As subject of analysis, we have taken the works “A case of the stubborns” (1984) by Robert Bloch, “Sea Oak” (1997) by George Saunders and “Incidente em Antares” (1970) by Érico Veríssimo. As theoretical support, Fred Botting (1996), H. P. Lovecraft (2007), Nöel Carroll (1999), about the horror in literature and to connect with the Magic Realism and the Magical Reality, Alejo Carpentier (1987), Irlemar Chiampi and William Spindler (1993) / Em 1989 o norte-americano Bruce Sterling revelou, em entrevista, ter encontrado uma nova categoria de gênero literário que combinava outros gêneros formando, então, o que ele chama de slipstream. Esta modalidade não segue padrão único, podendo até mesmo incluir ficção científica, gótico e realismo mágico em uma só obra. Desde então, mais de vinte anos após sua revelação sobre o slipstream, a modalidade ainda não se transformou em gênero e pouco tem se discutido sobre o presente assunto. No entanto, existem várias perguntas e suposições sobre o que realmente seria slipstream e suas características para alcançar o título de gênero literário. Embora existam poucas afirmações acerca do tema, este presente trabalho visa delinear os pontos de contato entre o slipstream o Realismo Mágico. Gênero este que muito divide em características com a modalidade em questão e também definir se slipstream não seria outro nome para Realismo Mágico. Para tal proposta, tomamos a personagem literário morto-vivo ou atualmente chamado de zumbi para análise. Pois acreditamos que a presença desta figura literária corrobora para a manifestação de elementos e eventos componentes dos gêneros aqui tratados. Como objeto de estudo, tomamos as obras “A case of the stubborns” (1984) de Robert Bloch, “Sea Oak” (1997) de George Saunders e Incidente em Antares (1970) de Érico Veríssimo. Como suporte teórico, utilizaremos as colocações de Fred Botting (1996), H. P. Lovecraft (2007), Nöel Carroll (1999), com o tema do horror na literatura e para a conexão ao Realismo Mágico e o Real Maravilhoso, usaremos as afirmações de Alejo Carpentier (1987), Irlemar Chiampi e William Spindler (1993).

This project explores the zombie’s status and function as an artistic traumatic grotesque within the 2000s. Coined as a grotesque “stream” by art historian Frances S. Connelly, the traumatic grotesque interrupts established visual norms by presenting contemporary social anxieties in monstrous form. Though a historically filmic monster, the zombie made its formal and enduring appearance in visual art amid the near-continuous cultural traumas of the 2000s. My goal was a better understanding of how the zombie, as expressed in art and film, embodies the traumatic imagery and psychology of three specific tragedies. They are: Britain’s 2001 Foot and Mouth disease outbreak, Damien Hirst and Jenny Saville, and Danny Boyle’s 28 Days Later (2002); 9/11, Dana Schutz’s “Self Eaters” series (2003-2005), and George A. Romero’s Land of the Dead (2005); and the 2008-2010 Great Recession, Jillian McDonald, and AMC’s The Walking Dead Season Four (2013-2014).The zombie’s iconographic crossover marks art history’s need for a detailed history of both zombie symbolism and how the social contexts of past and present iterations affect the monster’s function and reception. I used a combination of semiotics, psychoanalysis and critical theory to begin that examination. First, a brief historiographic analysis of grotesque theory establishes the artistic construct’s evolving “yes, and…” semiotic functions. From within a socio-historical breakdown of zombie movies, the monster uses its grotesque characteristics to critically challenge the viewer’s social identity. During cultural trauma, sociological and psychoanalytic effects transform the zombie into a traumatic grotesque. By invoking viewer identification and traumatic memory, the zombie traumatic-grotesque engages individual viewers in self-realized moments of either progressive or traditional cathartic trauma processing. / Art History

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The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.