Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

A framework for specification and analysis of software architectures

Software architecture is the abstract design of a software system. It plays a key role as a bridge between requirements and implementation, and is a blueprint for development. The architecture represents a set of early design decisions that are crucial to a system. Mistakes in those decisions are very costly if they remain undetected until the system is implemented and deployed. This is where formal specification and analysis fits in. Formal specification makes sure that an architecture design is represented in a rigorous and unambiguous way. Furthermore, a formally specified model allows the use of different analysis techniques for verifying the correctness of those crucial design decisions. ^ This dissertation presented a framework, called SAM, for formal specification and analysis of software architectures. In terms of specification, formalisms and mechanisms were identified and chosen to specify software architecture based on different analysis needs. Formalisms for specifying properties were also explored, especially in the case of non-functional properties. In terms of analysis, the dissertation explored both the verification of functional properties and the evaluation of non-functional properties of software architecture. For the verification of functional property, methodologies were presented on how to apply existing model checking techniques on a SAM model. For the evaluation of non-functional properties, the dissertation first showed how to incorporate stochastic information into a SAM model, and then explained how to translate the model to existing tools and conducts the analysis using those tools. ^ To alleviate the analysis work, we also provided a tool to automatically translate a SAM model for model checking. All the techniques and methods described in the dissertation were illustrated by examples or case studies, which also served a purpose of advocating the use of formal methods in practice. ^

Japan in Crisis- an FIU Teach-In

Panel discussion on the subject of the March 2011 earthquake disaster in Japan featuring the following speakers: Steven Heine, Associate Director, SIPA; Director, Asian Studies Institute Dean Whitman, Associate Professor, Department fo Earth and Environment Richard Olson, Professor, Department of Politics and International Relations Joerg Reinhold, Associate Professor, Department of Physics Paul Kowert, Associate Professor, Department of Politics and International Relations Matthew Marr, Assistant Professor, Department of Global and Sociocultural Studies Pallab Mozumder, Assistant Professor, Department of Earth and Environment and Department of Economics Discussion was held at the Graham Center Ballroom of the Modesto A. Maidique Campus

Association between mean residual life (MRL) and failure rate functions for continuous and discrete lifetime distributions

The purpose of this study was to correct some mistakes in the literature and derive a necessary and sufficient condition for the MRL to follow the roller-coaster pattern of the corresponding failure rate function. It was also desired to find the conditions under which the discrete failure rate function has an upside-down bathtub shape if corresponding MRL function has a bathtub shape. The study showed that if discrete MRL has a bathtub shape, then under some conditions the corresponding failure rate function has an upside-down bathtub shape. Also the study corrected some mistakes in proofs of Tang, Lu and Chew (1999) and established a necessary and sufficient condition for the MRL to follow the roller-coaster pattern of the corresponding failure rate function. Similarly, some mistakes in Gupta and Gupta (2000) are corrected, with the ensuing results being expanded and proved thoroughly to establish the relationship between the crossing points of the failure rate and associated MRL functions. The new results derived in this study will be useful to model various lifetime data that occur in environmental studies, medical research, electronics engineering, and in many other areas of science and technology.

A compilation of global bio-optical in situ data for ocean-colour satellite applications

A compiled set of in situ data is important to evaluate the quality of ocean-colour satellite-data records. Here we describe the data compiled for the validation of the ocean-colour products from the ESA Ocean Colour Climate Change Initiative (OC-CCI). The data were acquired from several sources (MOBY, BOUSSOLE, AERONET-OC, SeaBASS, NOMAD, MERMAID, AMT, ICES, HOT, GeP&CO), span between 1997 and 2012, and have a global distribution. Observations of the following variables were compiled: spectral remote-sensing reflectances, concentrations of chlorophyll a, spectral inherent optical properties and spectral diffuse attenuation coefficients. The data were from multi-project archives acquired via the open internet services or from individual projects, acquired directly from data providers. Methodologies were implemented for homogenisation, quality control and merging of all data. No changes were made to the original data, other than averaging of observations that were close in time and space, elimination of some points after quality control and conversion to a standard format. The final result is a merged table designed for validation of satellite-derived ocean-colour products and available in text format. Metadata of each in situ measurement (original source, cruise or experiment, principal investigator) were preserved throughout the work and made available in the final table. Using all the data in a validation exercise increases the number of matchups and enhances the representativeness of different marine regimes. By making available the metadata, it is also possible to analyse each set of data separately.

Conduções cênicas: A “Açon” e o movimento através dos princípios e procedimentos metodológicos de Gilles Gwizdek

The research identifies and describes the principles and methodological procedures of the director Gilles Gaetan Gwizdek on the transposition of the dramatic text to the space of representation through action and movement. Besides that, it presents the results of the experiment in two different labor camps and conducting modes: the no-actor student, inserted into the basic education, and the actor-student, inserted in higher education. Through the scenic paths encountered by the director, the individuals were could find their own ways and verify, through the scenic conductions, how such methodological procedures can achieve a pedagogical thinking about the actor's work. As theoretical referential, were studied the artists-educators: Jacques Copeau, in what sensitizes to the use of dramatic text, and Jacques Lecoq, it approaches of the physical use of the actor's body to the theater. The concepts about theater of the scholars in theater: Constantin Stanislavski, Eugênio Barba, Meyerhold, Eugênio Kusnet, Bertold Brecht go through the theoretical revisions of the thinkers: Odete Aslan, Patrice Pavis, Ney Piacentini, Lúcia Romano, Flávio Desgranges e Anne Bogart, in what affects their practical experiences and conceptual about the text, the action and the movement. It was analyzed also the practical experience based on the principles and methodological procedures of Gilles director, in rehearsals and performances of students in the ninth grade of the primary school the Basic School of the Federal University of Uberlândia - ESEBA, as also, of the students of the sixth, seventh and eighth period, of the Theater Graduation in the same university. From this analysis, it was proposed an interrelation between the theoretical and practical works, done by reading of the artists-educators about movement and Gilles Gwizdek in his work process. The research suggests that, from the movement, the student can build autonomously a character through the experience of small movements of the body. Thus, this student would increase his relationship between stage and audience, and consequently, he would cause a possible state of "seduction" of the spectator to the spectacle.

Contrary Voices: Heine, Holderlin, and Goethe in the music of Hanns Eisler

Contrary Voices examines composer Hanns Eisler’s settings of nineteenth-century poetry under changing political pressures from 1925 to 1962. The poets’ ideologically fraught reception histories, both under Nazism and in East Germany, led Eisler to intervene in this reception and voice dissent by radically fragmenting the texts. His musical settings both absorb and disturb the charisma of nineteenth-century sound materials, through formal parody, dissonance, and interruption. Eisler’s montage-like work foregrounds the difficult position of a modernist artist speaking both to and against political demands placed on art. Often the very charisma the composer seeks to expose for its power to sway the body politic exerts a force of its own. At the same time, his text-settings resist ideological rigidity in their polyphonic play. A dialogic approach to musical adaptation shows that, as Eisler seeks to resignify Heine’s problematic status in the Weimar Republic, Hölderlin’s appropriation under Nazism, and Goethe’s status as a nationalist symbol in the nascent German Democratic Republic, his music invests these poetic voices with surprising fragility and multivalence. It also destabilizes received gender tropes, in the masculine vulnerability of Eisler’s Heine choruses from 1925 and in the androgynous voices of his 1940s Hölderlin exile songs and later Goethe settings. Cross-reading the texts after hearing such musical treatment illuminates faultlines and complexities less obvious in text-only analysis. Ultimately Eisler’s music translates canonical material into a form as paradoxically faithful as it is violently fragmented.

Concrete and abstract concepts in school age children

The aim of this study is to highlight what kind of information distinguishes abstract and concrete conceptual knowledge in different aged children. A familiarity-rating task has shown that 8-year-olds judged concrete concepts as very familiar while abstract concepts were judged as much less familiar with ratings increasing substantially from age 10 to age 12, according to literature showing that abstract terms are not mastered until adolescence (Schwanenflugel, 1991). The types of relation elicited by abstract and concrete concepts during development were investigated in an association production task. At all considered age levels, concrete concepts mainly activated attributive and thematic relations as well as, to a much lesser extent, taxonomic relations and stereotypes. Abstract concepts, instead, elicited mainly thematic relations and, to a much lesser extent, examples and taxonomic relations. The patterns of relations elicited were already differentiated by age 8, becoming more specific in abstract concepts with age.

Socialization of Early Prosocial Behavior: Parents' Talk about Emotions is Associated with Sharing and Helping in Toddlers.

What role does socialization play in the origins of prosocial behavior? We examined one potential socialization mechanism, parents' discourse about others' emotions with very young children in whom prosocial behavior is still nascent. Two studies are reported, one of sharing in 18- and 24-month-olds (n = 29), and one of instrumental and empathy-based helping in 18- and 30-month-olds (n = 62). In both studies, parents read age-appropriate picture books to their children and the content and structure of their emotion-related and internal state discourse were coded. Results showed that children who helped and shared more quickly and more often, especially in tasks that required more complex emotion understanding, had parents who more often asked them to label and explain the emotions depicted in the books. Moreover, it was parents' elicitation of children's talk about emotions rather than parents' own production of emotion labels and explanations that explained children's prosocial behavior, even after controlling for age. Thus, it is the quality, not the quantity, of parents' talk about emotions with their toddlers that matters for early prosocial behavior.

CERAMICS IN BRITAIN (1840-90): MEANINGS AND METAPHORS

The intention of this thesis, “Ceramics in Britain (1840–90): Meanings and Metaphors” is to present new approaches for interpreting ceramics in nineteenth-century Britain by situating, problematizing, and contextualizing pottery and porcelain in the popular debates of the day within the methodologies of material culture, design, cultural and art histories. I ask how did ceramics—portable, functional, and often decorative objects—contribute to shaping modes of experiences? Crockery, tableware and blue-white-porcelain, admittedly largely mediated in texts and paintings, are at the centre of this research to examine how they imposed symbolism and influenced the engagement of their subjects beyond their intended meanings and functions. This thesis tracks a common rhetoric shared by writers and artists across genres and understood by readers and viewers: crockery in the cupboard, on the mantel, the table or the floor were popular motifs exemplifying class, gender, character, etiquette, and taste. This thesis also seeks to map ceramics’ relations with other objects and people depicted. Their meanings and metaphors changed, depending on their exchange with other objects in the room and who uses them. The conventions of representing ceramics dictated a particular grammar that writers and artists used, critiqued, discarded or personalized. The examination of ceramics mediated in text and image especially in comparison with extant objects invites a deeper probing of both material culture and artistic practice, which helps to situate the agency of the ceramic objects themselves. Also this thesis, in attempt to explore new methodological approaches for ceramic studies, examines the social life of the mid-Victorian relief-moulded “Minster” Jug in the Gardiner Museum in Toronto. The product originating in Staffordshire in 1843 and exported to the colonies holds significance due to its multiple life histories. Viewing the “Minster” through the lenses of curator, collector, consumer, and critic its layered lives unfold to reveal the protocols of museum praxis as well as important aspects of mid-nineteenth-century British society related to design reform, gender, imperialism and consumption patterns. This thesis contends that the British experienced ceramics in sometimes unexpected ways, unrelated to their original purpose, such as tools of violence or containers of solace, and transformative fantasy.

Estructura formal, textual y oral del discurso público

Estructura formal, textual y oral del discurso públicoExisten tres competencias comunicativas muy valoradas en la sociedad de la información. Primero, la búsqueda, selección y gestión de grandes cantidades de información. Segundo, la redacción de textos claros, concisos y rigurosos. Y en tercer lugar, la exposición y defensa oral de esta información en un discurso público. Tradicionalmente, los estudios de periodismo han abordado estas competencias de forma independiente. Pero actualmente, instituciones y empresas de ámbitos diferentes demandan un perfil profesional capaz de aplicarlas ante cualquier tipo de información y con objetivos diversos. Se propone un modelo integral en tres niveles estructurales basado en teorías, conceptos y estudios específicos de periodismo, oratoria, retórica… o comunicación, en los últimos años. Este modelo puede contribuir a encauzar las investigaciones de académicos y representa una herramienta de entrenamiento para profesionales.

Gino Germani: Transición, modernizacion, civilización. Aportes para una revisión contemporáneaa

El presente trabajo se propone poner de relieve el marcado interés que demuestra Gino Germani por la explicación del fenómeno de la “modernidad” a partir de una revisión de algunos conceptos fundamentales presentes en ciertos pasajes de su obra. Por las características de la misma (fragmentaria, heterogénea, ecléctica) postular – y justificar – la existencia de una “teoría de la modernidad germaniana” implicaría una tarea de reconstrucción y análisis que excede por mucho el alcance del presente trabajo. Sin embargo, para llevar adelante nuestros objetivos, que de hecho son mucho menos ambiciosos, asumimos dicha existencia a modo de hipótesis de trabajo. Nuestra búsqueda parte de una lectura interesada por reconocer elementos teóricos (definiciones, mutaciones y/o transformaciones conceptuales) en una serie de textos claves. El trabajo se articulará en torno de tres movimientos teóricos que reconocemos en dicha selección: del concepto de “transición” al de “modernización” y de allí al de “civilización”. Hacia el final mencionaremos unas breves reflexiones y sugeriremos unas tareas pendientes que creemos las mismas habilitan en el marco de la/s “sociología/s latinoamericana/s”.

40 20th Century Spanish Sculptresses

This article presents a compilation of female artists who carried out their sculptural work during the twentieth century. With a brief presentation of each of them I want to implement visibility and the importance of incorporating their works to the collective imagery in order to be added to Spanish contemporary arts history. Some of them have public monuments of great popular recognition but their names have not been mentioned yet. Some others have “minor” works but they were relevant teachers to other artists. A few of them have extensive monographs about their life and their works. While others have almost gone unnoticed, but the proof of their professional career’s existence seems fundamental to us and they must be incorporated to history either through text books, university research works, ideally achieving a supported research project, to provide them the visibility their works and their vital trajectories deserve.

Ruxia i Ruxianos w romansach rycerskich autorstwa Feliciano de Silva

W niniejszym artykule przeanalizowany został sposób wykorzystania przez Feliciano de Silva autentycznego toponimu Ruxia (Ruś) przy konstruowaniu świata przedstawionego w romansie rycerskim. Jak zostaje wykazane, Feliciano de Silva jedynie częściowo wpisuje się w tendencję zaobserwowaną wcześniej m.in. u Garci Rodrigueza de Montalvo, który w swoich dziełach nakreśla jasną opozycję pomiędzy chrześcijańskim światem błędnego rycerstwa a złym i nikczemnym pogaństwem. Autor z Ciudad Rodrigo, chcąc nawiązać do chwały średniowiecznego Konstantynopola, powraca do czasów konfliktu bizantyńsko-ruskiego, który twórczo wykorzystuje w aż trzech księgach Florisel de Niquea. Ruxia, jeden z głównych przeciwników greckiego rodu, przedstawiona zostaje jako pogańska potęga militarna, której przewodzą władcy odważni, lecz zarazem owładnięci żądzą, niemoralni i okrutni.

За някои топоси, свързани с женските роли, в текста на книга Царства

Статията се занимава със славянския превод на няколко топоса, свързани с разбирането на женските роли, в Първа и Втора книга Царства. За целите на сравнението основният ръкопис (Архивският хро- нограф) е съпоставен с още седем славянски ръкописа, извлечението от Книги Царства в Славянската версия на Хрониката на Георги Синкел, Острожката библия, както и с текста на Септуагинта и Вулгата. Въз основа на събрания богат речников и изворов материал, статията анализира и търси при- чината за необичайните преводачески решения на старобългарския книжовник.