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Harvey, Rosemarie Gail. "Synthesis and solubility of nickel and iron "hideout" reaction products with aqueous sodium and ammonium phosphate under steam generator conditions /." Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,155866.
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Jackson, Edward William. "David Foster Wallace's hideous neoliberal spermatics." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8538/.
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This thesis investigates male sexuality and neoliberalism in the work of David Foster Wallace. I argue that his texts conceive of male sexuality through neoliberal logics regarding responsibility, risk, contract, property, and austerity. Informing such conceptions are spermatic metaphors of investment, waste, blockage, and release. These dynamics allow Wallace’s texts to ground masculinity in an apparently incontestable sexual hideousness, characterised in particular by negativity and violence. By figuring male sexuality as a neutral economic issue, and one that lends itself to spermatic metaphors, his fiction and nonfiction present such hideousness as a fact to be accommodated for rather than changed. My analysis is broadly revisionist. I depart from readings that stress his texts’ opposition to neoliberalism by showing how they are embedded in, and complicit in reproducing, its key logics. I also nuance considerations of Wallace’s gender politics by arguing that their sexual traditionalism is indicative of an attachment to male hideousness, not their author’s intentions or failings. In these ways my thesis evaluates the complex pessimism animating Wallace’s treatment of male sexuality. I trace the interaction between neoliberal logics and spermatic metaphors throughout his oeuvre to consider how and why Wallace presents male sexuality as being so immutably rotten.
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Thomas, Susan J. "Hideous Progeny: Postcolonial Fiction and the Gothic Tradition." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/344423.
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Hideous Progeny: Postcolonial Fiction and the Gothic Tradition explores the vexed relationship between postcolonial fiction and the Anglo-European-American Gothic mode. Gothic motifs figure abundantly in postcolonial works, but they are not always meant to be taken seriously; often they take a comic and ironic stance toward the subject matter. When horror does appear in these works, it is usually not situated in the abject Other (the pharmakos figure), but in the projecting mindset of the dominant culture. As the title Hideous Progeny implies, such postcolonial novels are the rebellious offspring of the Gothic canon; they can even be dubbed Frankenstein's monsters, created from the disjecta membra of the nineteenth-century Gothic tradition and reassembled into a newly vital, global Gothic literature. Or, to use a different metaphor, they function as inverted mirror images, as photographic negatives, of the nineteenth-century Gothic novel, neutralizing its familiar tropes with an injection of "magical realist" motifs from diverse cultural traditions. This study uses a psychoanalytic methodology to analyze the Gothic source echoes in selected novels by Toni Morrison, Gabriel García Márquez, and Salman Rushdie. Through the lens of post-Freudian theorists Nicolas Abraham, Maria Torok, and Julia Kristeva, in particular, these novels will be depicted as Gothic--suspended between a haunted past and a technologically disorienting present--and also anti-Gothic. If the Gothic novel explored the unconscious anxieties of late eighteenth- and nineteenth-century Western culture, as many have suggested, the postcolonial Gothic novel explores the unconscious anxieties of an emerging global culture in the late twentieth century. Unlike its Anglo-American precursor, however, postcolonial Gothic fiction does not recoil from the unknown, but embraces the "liminal" zone, finding in it both "tiger and lady," both terror and potential renewal.
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Karlsson, Michael. "Bathroom Hideouts : A search for new ways of storing." Thesis, Linnéuniversitetet, Institutionen för design, DE, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14163.
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My examination project during spring 2011 has been carried out in collaboration with DuoBad, a bathroom furniture company situated in Alsterbro, Småland. Their focus is to develop, manufacture and market bathroom furnitures with genuine craftsmanship. Through their partnership with some of the most influential manufacturers of quality bathroom products they can create an entirely new room to enjoy.I initiated the collaboration with DuoBad for the examination project and have not started from a specific task, but together with the company I have been focused on adding new thinking regarding storage in bathroom furniture.The goal with the project has been to, together with DuoBad, develop a conceptual set of bathroom furniture that provides new ways of storing.The project was a close collaboration with users where experience gained through contextual interviews became the main source of inspiration.The result of the project is a bathroom furniture serie called Mill. The name comes from the manufacturing technique of milling, which is the identifying form language of the product.
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Colatrella, Marie-Luce Delon Michel. ""Ce hideux chef-d'oeuvre"." Paris : Université Paris Sorbonne - Paris IV, 2007. http://www.theses.paris4.sorbonne.fr/colatrella/paris4/2005/colatrella/html/index-frames.html.
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Österberg, Marika. "Satire and Social Criticism in C. S. Lewis' That Hideous Strength." Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-5162.
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The essay at hand is a New Historicist reading of C. S. Lewis’ dystopian fantasy novel That Hideous Strength. According to New Historicist theory it is informed by many disciplines, namely, philosophy, history, literary theory, theology, social science, and psychology, and it attempts to lessen injustices of race and class. The essay examines how satire operates in the novel, focusing on its societal targets: totalitarianism, laboratory animals, and education. Lewis’ philosophical idea expressed in his “The Abolition of Man” – that a society that averts from what he calls universal, timeless, objective values will eventually lead to a loss of that which is truly humane – is a main theme of the novel as well as for this essay. Another, complementary, main theme is that a cultivation of the heart is necessary for individuals of society since childhood if society is going to stay humane.
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Okoye, Ikemefuna Stanley Ifejika. ""Hideous architecture" : mimicry, feint and resistance in turn of the century southeastern Nigerian building." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/11452.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1994.<br>Includes bibliographical references (v. 3, leaves 718-730).<br>This dissertation reconstructs the histories of some exceptional, hitherto unstudied buildings, erected in southeastern Nigeria between 1889 and 1939; they are part of a larger group, dispersed over the African Atlantic coast and 'interior'. To architectural scholarship, these kinds of building have seemed unfathomable , if they emerge at all from invisibility (and thus from being unamenable to study). Typically, they are viewed through a lens which distorts them in one of two mutually complementary ways; one identifies some of them with an extended European architecture. The other consigns the rest a characteristic resistance to change, and situates them within an unhistoricized traditional world. These frames emerge from how the academy views non- western society and from local African representations and feints; both their architecture historical frames tend, then, to frustrate attempts to flee their fields of vision for more clarified accounts. The buildings in this study, and the larger class to which they belong, thus resist an adequately descriptive, coherent, historicized interpretation. Far more than is imagined, textual witness is shown to be available, by 1890, for constructing a part-documentary history that challenges Europeanizing historiographic frames. Moreover oral narratives garnered from the buildings' communities (biographies of builders and of their patrons for whom architecture seems well developed as a form of representation) are founded as this history's necessary and equal complement. Thus, these buildings become recognizable as products of their particular sites (speaking both theoretically and in constructional terms); a recognition encouraged by granting them a categorical distinctiveness that elides, partially, the architecture of the European colony. It will moreover have been shown that transformationality, as opposed to a particular moment of change, was a property of southe~stern Nigerian culture, and that all its customs (and specifically, the latter's architectural tradition) must be regarded as non-stable and eternally reinvented.<br>by Ikemefuna Stanley Ifejika Okoye.<br>Ph.D.
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Frampton, Sara. "“I Bid My Hideous Progeny Go Forth and Prosper”: Frankenstein’s Homosocial Doubles and Twentieth Century American Literature." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24370.
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This dissertation explores the reoccurrence of Mary Shelley’s Frankenstein within twentieth-century American novels. While the inaccurate 1931 film version by James Whale remains the best known adaptation of Frankenstein, I argue that Willa Cather, Ralph Ellison, Toni Morrison, and Chuck Palahniuk return to Shelley’s 1818 novel to critique racist and misogynistic responses to anxieties about gender and racial power in the age of industrial consumer culture. In doing so, I extend existing scholarship on the American Gothic to demonstrate that The Professor’s House, Invisible Man, Beloved, and Fight Club represent a specifically Shelleyan Gothic tradition in twentieth-century American literature.
My project draws upon influential feminist and postcolonial readings of Frankenstein and on the theoretical work of Eve Kosofsky Sedgwick and later critics who have developed her theory to show how the twentieth-century novels echo themes and motifs from Shelley’s novel to critique the destructive effects of male homosociality. Each novel contains a protagonist that resembles Victor Frankenstein and responds to historically specific anxieties about gender, race, and industrial technoscience by creating a doppelgänger who enables participation in a homosocial bond that is initially empowering but proves destructive to women, racial minorities, and eventually the creature and creator figures themselves. My reading reveals unexpected similarities between Cather’s The Professor’s House and Palahniuk’s Fight Club. Cather’s novel appears to glorify Tom Outland as the ideal masculine hero but ultimately reveals him to be a monstrous doppelgänger who acts out the Professor’s oppressive impulses; similarly, Fight Club seems to romanticize the male violence instigated by the doppelgänger figure Tyler Durden but actually echoes Shelley’s critique of male homosociality as monstrous. My reading also reveals previously overlooked similarities between Invisible Man and Beloved, both of which feature a black protagonist who surprisingly resembles Victor Frankenstein by creating a doppelgänger to challenge his or her disempowerment by the structures of white male homosociality but end up emulating the destructive homosocial structures they critique. My dissertation shows how all of these writers share Shelley’s critique yet move beyond it by offering alternatives to the destructive cycle of violence, embodied in each case by a female figure who resists or reclaims the position of the abject other in the homosocial triangle.
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Ninomiya, Hiroyuki. "La pensée de Kobayashi Hideo 1942-1948." Paris, INALCO, 1988. http://www.theses.fr/1988INAL0005.
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L'originalité de Kobayashi Hideo (1902-1983) à la fois comme écrivain et comme penseur s'affirma dans les années 1942-1948. La première partie est consacrée à l'étude des activités que mena l'écrivain au sein de l'équipe de la revue Bungakukai, notamment lors de la table ronde "Kindai no chokoku comment dépasser la modernité?" ( en juillet 1942 ). Dans ses prises de position face aux problèmes concernant la rencontre des civilisations apparaissent ses idées personnelles sur l'histoire, le rapport du mental et du corps, ou l'importance de la langue maternelle pour la pensée. La deuxième partie porte sur Mujo to iu koto ce qu'on appelle l'impermanence (1942-1946). L'analyse de l'œuvre met en lumière la signification profonde des "rencontres", qui se produisirent grâce à l'acte de se souvenir, entre certaines œuvres classiques et cette conscience critique moderne. La troisième partie traite "Watashi no jinseikan ma manière de voir la vie (1948) et dégage la dimension universelle de la "sagesse" qui s'appuie sur l'expérience vécue du beau. L'éthique et l'esthétique s'y trouvent foncièrement unies. L'"analogie" se révèle à travers ces trois parties comme fil conducteur de la démarche du penser chez Kobayashi Hideo<br>The originality of Kobayashi Hideo (1902-1983) both as a writer and a thinker became apparent between the years 1942 and 1948. The first section is concerned with the activities in which Kobayashi Hideo took part as a founding member of the literary magazine Bungakukai, and especially his participation in the round table entitled "Kindai no chokoku going beyond modernity" in July of 1942. His personal ideas on history, the relation between the mental and the physical, and the importance of one's native language in thought appear in the positions he takes regarding the problems inherent in the meeting of civilisations. The second section is development based on the work Mujo to iu koto the sense of evanescence (1942-1946). This analysis highlights the deeper meaning of "convergences", which occurred through the act of remembrance, between certain classics and Kobayashi Hideo 's modern critical consciousness. The third section deals with Watashi no jinseikan my view of life (1948) and exposes the universal dimension of "wisdom" which is based on the living experience of the beautiful. Here, ethics and aesthetics are inextricably united. Throughout the three sections, analogy appears as the constant in the treatment of thought by Kobayashi Hideo
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Valent, Joseph Arthur. "An examination of the conducting method of Hideo Saito." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1173782.
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The ideas of Hideo Saito regarding conducting and conducting pedagogy are a valuable addition to the field, an addition that English-speaking people are likely to be unfamiliar with. Besides devising a unique collection of terms for talking about conducting, and assembling a set of exercises designed to facilitate the practice of a variety of gestures, Saito develops and operates from a framework which allows for the description and evaluation of almost any conceivable rhythmic gesture. While he pays attention to time, space, direction, size, and expectations, he often explores the ways velocity and changes in velocity can be employed to elicit desired sounds from players and singers. He is certainly not the first teacher to focus on the role of velocity in conducting gestures. However, the level of sophistication and thoroughness of his examination of velocity, and changes in velocity, is unique. His diagrams are noteworthy as well.Saito's conducting method is very popular in Japan. Seiji Ozawa, the Music Director/Conductor of the Boston Symphony Orchestra for more than 25 years, is just one of Saito's students who have had very successful conducting careers.This dissertation, in combination with accompanying videotaped examples of Morihiro Okabe teaching in the authentic Saito tradition, will provide the reader with an introduction to and an evaluation of the Saito conducting method. The reader will learn how to interpret Saito's diagrams of conducting motions, discover who the key people are, and view a Saito teacher instructing students. The reader will be introduced to the core teachings of Professor Saito, see what Saito's primary musical exercises are, and see how these exercises are used to promote musical and technical competence in conducting. This dissertation seeks to give the reader a foundation for further investigation of Saito's ideas and practices.This dissertation proposes, and employs English names for many gestures Saito labeled in Japanese. The Japanese terms are very descriptive of the motions. Providing equally descriptive English terms should be helpful to readers who are not fluent in Japanese.<br>School of Music
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Dorsey, James. "An intersection of aesthetics and ideology : Kobayashi Hideo, 1922-1942 /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11111.
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Ignatov, Mikhail Sergeevich. "Body in Motion: Furukawa Hideo, Writer for the Multimedia Age." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144389.
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The purpose of this study is to serve as an introduction of the work of the contemporary Japanese author, Furukawa Hideo (b. 1966), to the Anglophone audience. I consider Furukawa to be a member of the 'post-Murakami' generation, not only in terms of chronology but also in terms of influence. Murakami Haruki (b. 1949) left an identifiable impact on Furukawa's fiction, however it would be erroneous to consider Furukawa a Murakami imitator. In this study, I attempt to highlight the elements that make Furukawa unique as an author; specifically his careful manipulation of the theme-space matrix, and his fast-paced style influenced by Furukawa's performances of his own literary works, and collaboration with musicians, which reflects Furukawa's position in the center of the contemporary cultural trend towards multimedia integration.
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Colatrella, Marie-Luce. ""Ce hideux chef-d'oeuvre" : lectures, traductions, illustrations des Liaisons dangereuses : France, Allemagne, Angleterre (1860-1914)." Paris 4, 2005. http://www.theses.paris-sorbonne.fr/colatrella/paris4/2005/colatrella/html/index-frames.html.
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Les Liaisons dangereuses, " ce hideux chef-d'oeuvre ", ont été redécouvertes, critiquées, traduites, réécrites, abondamment illustrées dans les années 1880-1914, notamment par les décadents et les symbolistes. Comment expliquer l'enthousiasme suscité chez ces adversaires du naturalisme pour un ouvrage jugé réaliste et rationnel ? Si les français et une partie des lecteurs germaniques ont interprété un temps le roman comme un brûlot révolutionnaire, les anglais y ont perçu un pamphlet pour la liberté des moeurs. L'art de Laclos, intrigue graduée, polyphonie, maîtrise de l'implicite, rendu de l'intériorité, ont éveillé l'intérêt des écrivains qui cherchaient une voie nouvelle, en dehors de l'idéalisme et du naturalisme. Laclos a notamment inspiré les romanciers " féministes ". En s'efforçant de rendre la subtilité du style des Liaisons, les traducteurs ont révélé à leur insu une conception de la société française, marquée par le raffinement, mais entachée de cruauté et d'hypocrisie. Quant aux illustrations nouvellement créées, compromis entre les exigences éditoriales et le goût des artistes, elles témoignent d'un renouveau de l'allégorie, et de l'importance des images dans la transmission d'un mythe littéraire<br>The Liaisons Dangereuses – “the hideous masterpiece” – was re-discovered, criticised, translated, re-written and profusely illustrated between 1880 and 1914, particularly by the Decadents and the Symbolists. How to explain the enthusiasm generated among the opponents of Naturalism for a novel held as realistic and rational? If the French and a part of the German readers considered it, for some time as a trigger for the French Revolution, the English read it as a pamphlet for sexual tolerance. Laclos's art - graduated plot, polyphony, mastered implicit, revealed interiority - aroused the interest of writers who wanted to open new vistas away from Idealism and Naturalism. Laclos also inspired the so called “feminist” novelists. Translators, while trying to preserve the subtleties of the style of the Liaisons, yet revealed their own perception of the French society, marked by refinement, and scarred by cruelty and hypocrisy. As for the latest illustrations – a compromise between publication constraints and artistic tastes – they show some revival of Allegory and the emphasis given to pectoral approaches for the transmission of a literary myth
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Biesse, Cindy. "Les Justes parmi les Nations de la région Rhône-Alpes : étude prosopographique." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30046.
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Quelle population hétérogène que celle des Justes parmi les nations de Rhône-Alpes, et, par cette caractéristique même, peu saisissable ! S’ils ne sauraient, à eux seuls, représenter la totalité des situations de sauvetage, les Justes éclairent, par le simple fait qu’ils existent, un pan de la résistance civile sous l’Occupation. Ces hommes, ces femmes, appartiennent à une région originale, comme prédestinée à l’accueil. La diversité de ses paysages en fait le terrain d’expérimentation de toutes les formes de tourisme. Pays pratiquant, Rhône-Alpes est également le terreau d’expériences religieuses nouvelles et le berceau de la démocratie chrétienne. Région carrefour, ouverte, son pouvoir d’attraction se renforce sous l’Occupation, avec l’arrivée de flux nombreux d’exilés, de juifs notamment, qui s’efforcent d’y reprendre une vie « normale ». Les rafles de l’été 1942 font, soudainement, de l’aide dispensée aux réfugiés traqués une question de survie. Des hommes, des femmes, mus par des valeurs communes, encouragés par les ecclésiastiques qui les entourent, se mobilisent. Naissent ainsi de véritables chaînes de solidarité, transformant des bourgs ou des villages en territoires refuges, des individus anonymes en héros « ordinaires »<br>What a heterogeneous population that the Righteous among the nations of Rhône-Alpes and, by this way, little comprehensible! If they don’t embody all the situations of the rescue, the Righteous enlighten, only because they do exist, a piece of the civilian Resistance under the Occupation. These people belong to an unusual region, as fated for the welcome. Its various landscapes led to the experiment of all the types of tourism. This practicing country is also the ground of new religious experiences and the cradle of the Christian democracy. The appeal of this crossroads strengthens under the Occupation with the arrival of exiles, Jews in particular, who try to take back their former life. The raids of the summer 1942 make suddenly the help to the pursued people a question of survival. Moved by common values, encouraged by the clerics who surround them, people mobilize. Thus real networks of support arise, transforming villages into sanctuaries, common people into heroes
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Klein, Rebecca [Verfasser], Elke [Akademischer Betreuer] Winterhager та Hideo Andreas [Akademischer Betreuer] Baba. "Durch 17β-Östradiol und EGF regulierte Signalwege des pro-angiogenen Faktors CYR61 in endometrialen Zellen / Rebecca Klein. Gutachter: Hideo Andreas Baba. Betreuer: Elke Winterhager". Duisburg, 2011. http://d-nb.info/1015361579/34.
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Seyfert, Anton [Verfasser], Matthias [Akademischer Betreuer] Hieber, and Hideo [Akademischer Betreuer] Kozono. "The Helmholtz-Hodge Decomposition in Lebesgue Spaces on Exterior Domains and Evolution Equations on the Whole Real Time Axis / Anton Seyfert ; Matthias Hieber, Hideo Kozono." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2018. http://d-nb.info/1166315320/34.
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Sato, Yasuko. "Neither past nor present the pursuit of classical antiquity in early modern and modern Japan /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3060262.
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Engelhardt, Tanya. "The Sacrament of Violence: Myth and War in C.S. Lewis's Ransom Trilogy." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5202.
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My primary aim for this study is to illuminate the Ransom trilogy's inherent psychological and spiritual themes, as well as demonstrate how these themes clarify Lewis's philosophical and political goals for the text. Specifically, by investigating Lewis's mythic imagery and suffering motifs in light of psychoanalytic and theological literary criticisms, I elucidate the reasoning behind Lewis's unique - and at times, horrific - portrayal of fear, violence, and death. I also investigate how Lewis integrates his theology with the horrors of personal and intrapersonal suffering, as well as how he utilizes imagination and myth to explicate the practical (or political) implications of his theodicy. As a whole, I present a systematic study of the relationship between the Great War, myth, and the three Ransom novels, one which reveals how Lewis manipulates his personal traumatic experiences to fashion a romantic Christian understanding of evil and violence in the modern world.<br>ID: 031001509; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Advisers: James Campbell, Edward Dandrow, Donald Jones.; Title from PDF title page (viewed August 5, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 82-85).<br>M.A.<br>Masters<br>Office of Interdisciplinary Studies<br>Graduate Studies<br>Interdisciplinary Studies
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Ambrosio, Aldrieli Regina. "Avaliação morfofuncional do lábio superior em indivíduos com maloclusão classe II, 1, respiradores predominantemente nasais ou bucais : estudo longitudinal / Aldrieli Regina Ambrosio ; orientador, Roberto Hideo Shimizu, co-orientadora, Michelle Santos Vianna." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2004. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=997.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2004<br>Inclui bibliografia<br>O objetivo do presente estudo foi analisar e comparar a atividade eletromiográfica da porção superior do músculo orbicular da boca em 38 indivíduos com maloclusão Classe II, 1 de Angle, com modos respiratórios predominantemente nasais (RPN) ou bucais (RPB<br>The present study aimed at analyzing and comparing the electromyographic activity of the orbicularis oris superior muscle in 38 adolescents with Angle Class II, 1 malocclusion with predominantly nose (PNB) or mouth (PMB) breathing at two different periods
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Shibata, Daisuke 1975. "Heitor Villa-Lobos : questões e soluções para superar as dificuldades de interpretação da Bachianas Brasileiras nº.2." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285275.
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Orientador: Paulo José de Siqueira Tiné<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-25T18:29:12Z (GMT). No. of bitstreams: 1
Shibata_Daisuke_M.pdf: 28496230 bytes, checksum: 4cd4a936d4051b23d2ad74db5c4d0431 (MD5)
Previous issue date: 2014<br>Resumo: Esta dissertação se debruça sobre a peça orquestral Bachianas Brasileiras n??2 de Heitor Villa-Lobos, uma das suas principais obras e mais frequentemente executada em concertos. Pretende-se, a partir do Método Saito de regência orquestral, apresentar propostas de interpretação na sua execução através da exposição sistemática tendo como base um cotejamento do manuscrito, versão editada e do áudio da interpretação do próprio compositor para, juntamente com a experiência prática do autor, chegar às soluções mencionadas. Além do Método Saito e da análise da Bachianas Brasileiras n? 2, esta dissertação apresenta um breve relato histórico do período de 1930 a 1945, auxiliando os leitores a compreender o contexto histórico e ideológico de Villa-Lobos<br>Abstract: This dissertation focuses on the orchestral piece Bachianas Brasileiras No. 2 by Heitor Villa-Lobos, one of his major works and more often performed in concerts. It intendes, based on the Saito Method for orchestral conducting, to present proposals for interpretation in its performance through a systematic exposure based on a readback of the manuscript, the edited version and the composer¿s own recording, along with the practical experience of the author, arrive at the mentioned solutions. Besides the Saito Method and the analysis of Bachianas Brasileiras No. 2, this dissertation presents a brief historical description of the period between 1930 and 1945, assisting the readers to understand the historical and ideological context of Villa-Lobos<br>Mestrado<br>Praticas Interpretativas<br>Mestre em Música
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Martens, Wilfred. "Patterns of Christology, cosmology, and eschatology in the Ransom trilogy of C.S. Lewis." Thesis, University of Wales Trinity Saint David, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683287.
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Kuo, Yun-ting, and 郭耘廷. "Hideout." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bwmq3r.
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碩士<br>國立臺北藝術大學<br>劇場藝術創作研究所<br>106<br>Hideout, a play which constructed a wuxia world in a bar by daily conversation and characters. It describes how the martial artists were bounded by the tradition of Chinese culture and the division of concept of value between each of them. Furthermore, it also reveals the way they use seniority, the skill of speech, and Kung-Fu to proceed a power struggle not only in the bar but also the entire martial art community. This play means to portray the people who were suspended like scales between the traditional idea of martial art society and the modern individualism.
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ZHU, WEN YU, and 朱文宇. "Study on Preparation of Hideout Coatings by Silicone for Low-Emissivity Applications." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/g764w4.
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碩士<br>明新科技大學<br>化學工程與材料科技系碩士班<br>106<br>The thermal image of the infrared detection system mainly forms a thermal image by the difference between the target, ambient temperature and the emissivity. The low infrared emissivity coating can be control its infrared radiation power with changed the target surface infrared emissivity and heat insulation. Then, the target and environmental emissivity of infrared stealth can be achieved. However, stealth technology is a comprehensive technology that reduces various detectable features of the target, with making it difficult to find by enemy detection devices or reduce their detection capabilities. The stealth technology can be divided into infrared stealth technology, laser stealth technology, visible light stealth technology, radar stealth technology and sound stealth technology. Therefore, the role of stealth technology in modern warfare has received more and more attention.In addition, infrared stealth materials have broad research and applications in stealth technology research. In this study, we are focuses on the coating and infrared radiation mechanism, and the infrared radiation characteristics with the target background to preparation of green and various multi-color infrared low emissivity coatings.
In addition, the preparation of low-infrared emissivity coating process are focuses on the effect that the grinding time, the color development, particle size of the green toner, the sheet aluminum powder, composition ratio under the influence of color chromaticity, and infrared emissivity. The optimal conditions of infrared emissivity are reduced to achieve the minimum difference between the target and background emissivity. The silicone was added into aluminum powder, then these green toner pigment which was properly polished and spread was uniformly mixed to have better infrared stealth performance. Finally, the particle size was observed by particle size and interface analyzer, the low emissivity coating samples were placed in a black body furnace at 60°C, and then the infrared camera and far infrared rays were used. Investigate infrared emissivity under various concentration ratios and addition parameter for set up optimum conditions, effective of the emissivity. On the other hand, the emission rate of the coating was reduced to the lowest value, so as to reduce the difference between the paint and the background, which make the target difficult to be detected by the infrared detection system.
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DuPlessis-Hay, Michèle. "That hideous strength by C.S. Lewis: The preparation of an annotated critical edition." Thesis, 2013. http://hdl.handle.net/10539/13297.
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This dissertation seeks to address the problems arising from the complicated textual history of C.S. Lewis’s
novel That Hideous Strength, and the sophisticated, often misunderstood, nature of the web of allusion,
sources and influences on which the novel depends. One of the duties of an editor is to mediate between
the text and its readers. C.S. Lewis’s That Hideous Strength has many different kinds of readers, but the editor
can facilitate their understanding of the text, and can provide an accurate text. Critical responses to That
Hideous Strength and the Ransom trilogy have included commentary and explanation, mere description, and
evaluative criticism. Some critics have displayed fundamental misunderstandings of what Lewis has written:
this suggests the need for an annotated edition.
Fewer than three pages of an early manuscript survive. The novel has three first editions: British (1945),
American (1946), and abridged (1946)—the abridgement was done by Lewis, who revised what he did not
excise. In general, the British edition offers a better text, but the revisions in the abridged edition must be
taken into account too. Later editions of the novel have been based on the 1965 paperback edition of the
American edition. A number of errors in the American edition, and more introduced by the paperback
edition, have been perpetuated and readers nearly 70 years after the novel’s first publication are offered only
editions based on faulty editions and with misleadingly documented antecedents.
Lewis was extremely widely read and borrowed enthusiastically in a number of ways from many sources
and authors. Some of his Classical, Medieval and Renaissance influences have received critical attention, but
the field is very wide: a case-study of the influence of Alanus ab Insulis across all Lewis’s work shows that
he turns to Alanus again and again in explorations of hierarchy, God and Nature, and what it is to be
human. Lewis’s most important literary Christian mentors were G.K. Chesterton and George MacDonald,
both of whom he read from long before his conversion. Case-studies of these two authors show that
Chesterton influences Lewis’s thought and style as well as providing numerous sources of ideas and images,
while elements of MacDonald’s mythopoeia frequently appear in Lewis’s fiction. A case-study of Lewis’s
friend Charles Williams shows that general assumptions about the nature of his influence on That Hideous
Strength focus on the wrong things.
The cosmology that forms the background to the Ransom trilogy is syncretic, as Lewis combines
elements of the Medieval cosmology he describes in The Discarded Image (1964) with later traditions,
contemporary knowledge, and contemporary works of speculative fiction. This syncretism enables Lewis to
explore human being, human relations with God, and ethical and theological truths from an imaginative
standpoint while celebrating such elements of the traditional world-view as the plenitude of creation and the
planetary powers. This syncretism has attracted critical responses ranging widely from warm enthusiasm to
strong disapprobation.
A set of Preliminary Notes acts as a bridge between the Introduction and the Annotations, covering a
wide range of topics: questions of objective value (“Men Without Chests”); Lewis’s introduction of himself
and autobiographical elements into the trilogy (“Lewis as Character”); Lewis’s exploration in the novel, as
well as in ethical and critical works, of the moral dangers inherent in the desire to belong (“The Inner
Ring”); the sources of, and the use Lewis makes of, the Arthurian material in That Hideous Strength
(“Logres”); the way in which Lewis presents and uses blasphemy, profanity, and swearing in the trilogy
(“Blasphemy and Swearing”); Lewis’s rejection (following Chesterton), in the novel and in other writings, of
the notion that remedial treatment can be more humane than retributive punishment (“Humane Remedial
Treatment”); Lewis’s fictional presentation of questions about time and possible perceptions and
understandings of it (“Philosophies of Time”); Lewis’s invented language and the way in which his
presentation of it evolves over the trilogy (“The Language of Creation”).
Although paper or electronic variorum editions have many benefits, they are in general difficult for a
reader, and a collated, “eclectic”, annotated edition that can serve as a critical or a reading text of That
Hideous Strength is offered here. The edition shows what changes Lewis made for the abridged edition, and
includes a full apparatus criticus and textual notes justifying decisions taken about substantive differences and
instances where the editor has not followed the copy text.
The annotations seek to explicate the contexts of the novel. Lewis’s fiction is consistent with his
Christian belief, his apologetical and ethical writings, and his critical work, and draws on a wide range of
influences: the annotations explicate these points, as well us providing historical information and explaining
allusions that may have become unclear with the passage of time.
This edition concludes with three appendices. Appendix A provides a variorum presentation of the
extant manuscript fragments and the corresponding passages in the three first editions of the novel.
Appendix B explores the internal chronology of the novel, which is not always consistent. Appendix C
demonstrates an unexpected example of That Hideous Strength’s influence, showing Peter O’Donnell’s
borrowings in some of his crime thrillers.
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Smith, Megan H. "A Necessary Duty, A Hideous Fault: Digital Technology and the Ethics of Archaeological Conservation." 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-05-7795.
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Archaeological conservation is the process by which conservators prevent deterioration of archaeological remains and provide insight into the nature of recovered material. This thesis examines the effect of digital technology upon the ethics of the conservation profession and upon the attitude of the lay-public towards archaeology. The ethical issues raised by the use of digital technology are discussed, particularly the ways in which these issues differ from those raised by traditional conservation methods.
Technological advancements, particularly those occurring in the 20th century, changed the way artifacts are conserved and studied. Conservation arose out of a craft-restoration tradition and evolved into a profession which, in addition to necessary artistic and aesthetic considerations, uses a demonstrable scientific method in order to preserve artifacts. The creation of guidelines for practice and various codes of ethics is the turning point in this evolution, marking the point after which conservation became a scientific profession.
Advances in computer technology have permitted the widespread use of devices such as 3-D scanners, digital CT scanners, and digital cameras in the conservation of archaeological artifacts. All of these pieces of equipment produced digital files which must be stored. Currently, the pace of technological change renders most data inaccessible within ten years, and data conservation problems such as storage, access, and file format have not been adequately addressed by the professional conservation community. There is a distinct lack of formal ethical guidelines concerning these issues; this thesis concludes that there is an extreme need for measured consideration before digital methods are used in archaeological conservation.
The creation of high-fidelity replicas presents a problem for the museum audience. The public connects with artifacts on an emotional level which is altered when a replica is displayed instead of an original. Digital reconstructions abound in popular culture, heavily influencing public opinion, and often resulting in widespread misperception of the information which can be extracted from archaeological evidence. As a result, conservators of the future must be cautious when creating digital artifacts, and must be meticulously careful to make the nature of digital reconstruction clear to the audience, in order to avoid spreading misinformation.
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Taitz, Laurice. "Where once our heroes danced there is nothing but a hideous stain: nationalism and contemporary Zimbabwean literature." Thesis, 1996. https://hdl.handle.net/10539/26755.
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A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg,
in fulfilment of the requirements for the degree of Master of Art.<br>This study demonstrates the relationship between nationalism and identity formation by
exploring the ways in which Zimbabwean writers have constructed identities within the
context of a nationalist struggle for independence. By focusing on the predominant themes
of disease, alienation and disintegration, it explores how these identities emphasise difference
and heterogeneity in response to the homogenising discourses of colonialism and nationalism.
The disparity between the ways in which nationalism articulates itself and is apprehended,
and the ways in which nationalism allows for the foregrounding of particular identities is
illustrated by reference to the idea of a pact or alliance - an agreement reached on the basis
of the necessity of defeating colonialism. WhiIe motivations are often disparate, this common
goal allows for a show of unity, often mistaken as homogeneity. The achievement of
independence entails a shift in priorities, where those differing identities that previously
seemed homogenous, come to the fore precisely to emphasise their difference.<br>Andrew Chakane 2019
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Tsai, Peijen Beth. "Horror translation from Nakata Hideo's Ringu to Gore Verbinski's The Ring /." 2008. http://proquest.umi.com/pqdweb?did=1588770651&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.
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Thesis (M.F.A.)--State University of New York at Buffalo, 2008.<br>Title from PDF title page (viewed on Jan. 29, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Bay-Cheng, Sarah Includes bibliographical references.
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Morikawa, Saki. "Seeing And Believing: A Critical Study of Kobayashi Hideo's Watakushi no Jinseikan." 2015. https://scholarworks.umass.edu/masters_theses_2/161.
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What do we mean by “seeing”? Although we may see the same object in front of us, we each consciously or unconsciously select what we wish to see, eliminating information we find unnecessary. An artist or poet can see in even a tiny flower, which others barely notice, a wealth of colors or countless words. How then do our own eyes and those of others differ?
This thesis aims to explore how the act of seeing shapes one’s life and influences it through a consideration of the works of Kobayashi Hideo 小林秀雄 (1902-1983), a literary critic in modern Japan. In 1949 Kobayashi published a long essay entitled “Watakushi no jinseikan” 私の人生観(My View of Life), originally given as a speech in 1948 when he was forty-six years old. In this work Kobayashi analyzes the word kan 観 (vision) with reference to more than forty historical figures from both the West and the East. The thesis selects for discussion two of these in particular, namely Miyamoto Musashi 宮本武蔵(1584-1645), a Japanese warrior of the early Edo era, and Henri Bergson (1859-1941), a major French philosopher of the twentieth century upon whom Kobayashi places special significance.
While the primary focus is on interpreting this speech of Kobayashi’s, the thesis also discusses his earlier and later works in order to show the various transitions his philosophy went through over the course of his long career. The strong belief to which Kobayashi held on throughout his life as a literary critic is that the only way to see the essence of any object is to reject all rational and analytical interpretation and instead to unite one’s self with the objects: this was the ultimate approach that Kobayashi adopted in order to understand the word kan. This thesis finally addresses the question of whether this vision enabled Kobayashi to achieve his potential as a critic and as an individual.
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White, Marisa. "Sacramental unity in the writing of C.S. Lewis romanticism, imagination, and truth in The abolition of man and That hideous strength /." 2008. http://etd.lib.fsu.edu/theses/available/etd-03312008-202228.
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Thesis (M.A.)--Florida State University, 2008.<br>Advisor: Eric Walker, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Aug. 7, 2008). Document formatted into pages; contains v, 67 pages. Includes bibliographical references.
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Wada, James. "Kobayashi Hideo: The Long Journey Toward Homeland, 1902-1945." 2006. http://hdl.handle.net/1959.13/24860.
Full textAbstract:
The famous Japanese critic, Kobayashi Hideo (1902–1983), passed through five broad stages up to 1945. In the first stage (1929–32), he sought to reinstate the claims of “the man,” the feeling, thinking human being, in writing, in place of the various literary dogmas adopted from the West: “Behind literature, see the man.” In the second stage, (1933–37), he attempted to define the “modern individual” in a Japanese society of change, anxiety and chaos, adopting the term the “socialized I” to explain his sense of a self integrated into society. In this period he sought a model in the West and found Dostoevsky. The impetus behind this stage can be summed up in the saying, “Behind the man, see society.” In Stage 3 (1938–39), Kobayashi concluded that the “silence” of Japanese people expressed a “wisdom” that accepted the “inevitable” or their “fate” in history. This stage can be summarized in the dictum “Behind society, see history.” Kobayashi’s key direction in stage four (1940–41) is “Behind history, see nature,” the latter term meaning nature (fused with humankind). In the fifth stage, from 1942 into the postwar period, Kobayashi adopted a Dostoevskian “harmony and serenity” in espousing a transcendence of the human realm, when the human organism in its greatest struggles sees the need for beauty in art. This stage can be summed up in the saying “Behind nature, see (that which inspires) beautiful literature.” The thesis charts these five stages with biographical material, some of it gleaned from interviews, and with analyses of Kobayashi’s works, as well as works by Dostoevsky, the alter-ego of Kobayashi from 1933–43. Kobayashi emerges as a figure who lived a complex series of intellectual and personal changes, in strong reaction to the revolutionary political and cultural transformations in prewar Japan.<br>PhD Doctorate
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Bêty, Jean-Marc. "Metal Gear Solid V et Hideo Kojima : procédés de transmission et rhétorique auctoriale procédurale." Thèse, 2016. http://hdl.handle.net/1866/18695.
Full textAbstract:
Ce mémoire analysera les différents procédés de transmission à l'oeuvre dans Metal Gear Solid V: The Phantom Pain (2015) et Metal Gear Solid V: Ground Zeroes (2014) afin de saisir l'ensemble de la vision auctoriale du réalisateur de la série Metal Gear Solid, Hideo Kojima, ce qui nous permettra dans un second temps de comprendre la signification du réseau communicationnel rhizomatique qui précède et accompagne ces jeux vidéo. Ma recherche sera ainsi divisée en trois sections. La première section s'intéressera à la publicité entourant les deux volets de Metal Gear Solid V, laquelle sera étudiée en tant que signe social. La deuxième section présentera une analyse scénaristique dans laquelle il sera question des inspirations historiques et intermédiales qui contribuent à former l'univers narratif de notre corpus. La troisième section sera une analyse du modèle interactif de Metal Gear Solid V: Ground Zeroes et de Metal Gear Solid V: The Phantom Pain. Il y sera question de l'avantage parfois insoupçonné de l'encadrement de systèmes logiques vidéoludiques afin d'influencer le joueur à abandonner ou à adopter de nouvelles perspectives sociopolitiques. Ce mémoire démontrera comment Metal Gear Solid V utilise et unit un maximum de méthodes de transmission afin de convaincre son public de se laisser séduire par son message auctorial, ce qui servira finalement à prouver le potentiel rhétorique d'une union songée du paratexte et du contenu d’une œuvre vidéoludique.<br>This memoir will analyse the different processes of transmission used in Metal Gear Solid V: The Phantom Pain (2015) and Metal Gear Solid V: Ground Zeroes (2014) in order to grasp the whole auctorial vision of the Metal Gear Solid series director, Hideo Kojima, which will in turn allow us to understand the meaning of the rhizomatic communicational network that precedes or accompanies these video games. My research will be divided in three sections. The first section will focus on the publicity (and therefore social signs) that surrounds the two parts of Metal Gear Solid V. The second section will present a story analysis where historical and intermedial inspirations of both games will be discussed. The third section will analyse the interactive model of Metal Gear Solid V: Ground Zeroes and Metal Gear Solid V: The Phantom Pain. That chapter will focus on the often unsuspected advantages of the logical videoludic systems as means to influence the player to abandon or to adopt new sociopolitical perspectives. This memoir will decompose how Metal Gear Solid V uses and unites a maximum of transmission methods to persuade its public to give in to its auctorial message, which will hopefully demonstrate the rhetorical potential of a thoughtful union of paratext and content within videoludic works.
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Ball, Sarah McKay. "The uncanny in Japanese and American horror film Hideo Nakata's Ringu and Gore Verbinski's Ring /." 2006. http://www.lib.ncsu.edu/theses/available/etd-04052006-151734/unrestricted/etd.pdf.
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Satō, Yasuko. "Neither past nor present : the pursuit of classical antiquity in early modern and modern Japan /." 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3060262.
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Ikezawa-Hanada, Hideo [Verfasser]. "Rentai-shūshoku-dōshi-to-kabu-shūshoku-meishi-to-no-imiron-jo-no-kankei-nitsuite = Semantische Interpretation des syntaktischen Bezugs adnominaler Verben zum Bezugsnomen im Japanischen / vorgelegt von Ikezawa-Hanada Hideo." 2001. http://d-nb.info/968603300/34.
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