Teoria da argumentação jurídica e love's knowledge no caso da antecipação do parto do feto anencéfalo / Geilza Fátima Cavalcanti Diniz. --

Inclui notas explicativas, bibliográficas e bibliografia.

How I Learned to Stop Worrying and Love the Bits: Archival Motivation in the Digital Age

Why do people become archivists? Historically (and anecdotally) it was a deep love of musty, old records that drew people to the profession. While there have been many other motivating forces that inspired would-be archivists, it is most often that one hears of people seeking jobs in archives for love of “the stuff,” as evidenced in Kate Thiemer’s blog post, Honest tips for wannabe archivists (2012). As a result of the continually advancing presence of digitized and born digital archival collections, the physical nature of archival “stuff” is changing. While there remains the physical imprint of digital information on floppy disks, CDs, DVDs, hard drives, and old computers; the aspects of these physical artifacts might not evoke the same visceral pull to the profession as musty, raspy, paper-based documents. In light of this shift in physical presentation of information, we are faced with the question: how does love of archival “stuff” translate to work in digital archives? What is and/or will be the pull to become a digital archivist? To answer these questions, we will perform a survey-based study where we will invite archivists who work with both traditional and digital archival material to answer questions related to the aspects of their work that inspired or motivated them to join the profession. What motivates people to become archivists? What aspects of digital archives do or can potentially motivate people to seek out a career as an archivist? What, if any, motivational factors for becoming a traditional archivist are the same as those for becoming a digital archivist? What, if any, motivational factors for becoming a traditional archivist are different from those for becoming a digital archivist? By answering these questions, we hope to expand the archival discussion on what it means to be an archivist in the digital age. What compelling intrinsic, evidential, or informational values are present in digital archival content that will draw professionals to the field? Are there other values inherent in digital content that are currently unexplored? In our poster, we will present our discussion of the topic, our survey design, and results we have at the time of the Institute. Thiemer, K. (2012). Honest tips for wannabe archivists. Archivesnext blog. Retrieved from http://www.archivesnext.com/?p=2849

Grand Theft Auto & Other Stories

Grand Theft Auto & Other Stories is a collection of six linked vignettes and four short stories. The overall theme of the work revolves around the concept of doubt as a destructive force, be it self-doubt or doubt toward others. This work is also about transformation that comes as a result of battling and overcoming doubt. This creative work is introduced by a reflective paper which highlights the writing process, discusses literary influences, and explores the idea of writing as a craft and an art. In its entirety, this project is the culmination of coursework for an advanced degree in liberal studies. This manuscript is a work in progress.

A Return to Little Things: Stories on Motherhood and Mistakes

A Return to Little Things includes three nonfiction pieces that revolve around the mistakes made by mothers and daughters. The collection investigates the idea that our lives are a sum total of the choices we have made. The essays directly address three specific situations that touch on the themes of motherhood, choices, and the human inclination to recall them with bitterness, and offer proof that time often allows us to move forward to forgiveness. Using humor and acceptance, the narrator is led through a labyrinth of emotions to come to peace with these choices. The stories serve as reminders that there are no mistakes, only lessons, and we must seek to understand them to live happy lives. This manuscript is a work in progress.

The truth about snake stories / by Karl P. Schmidt, Asst. Curator of Reptiles and Amphibians.

no.10(1929)

Tough love for sinners in the eurozone banking union. CEPS Commentary, 1 July 2013

The ministers of finance and the economy of the eurozone have now agreed on the main features of a new ESM instrument for the direct recapitalisation of euro area banks (Eurogroup, 2013) and on a framework for the recovery and resolution of credit institutions (Council of the European Union, 2013). However, as Stefano Micossi explains in this Commentary, the text that has come out of the frantic late-night negotiations in the Ecofin Council seems to leave unwelcome uncertainty as to the real scope of the new rules in the different national jurisdictions, while the lack of depositor preference in the bail-in pecking order may result in destabilisation. The proposed system appears not only highly intrusive but it also places a considerable burden of aid to the failing institution on the member state, raising doubts about its ability to “break the vicious circle between banks and sovereigns”.

Kazakhstan's attitude towards integration with Russia: less love, more fear. OSW Commentary No. 137, 29.05.2014

Russia’s annexation of Crimea and destabilization of Ukraine have created a new context for Kazakhstan’s foreign and domestic policy. The ongoing crisis in the relations with Russia and the West has also changed the current order in the entire post-Soviet area. From Astana’s perspective, the Kremlin’s policy towards Ukraine can be considered dangerous since it shows Russia’s determination to interfere with the domestic affairs of its neighbours in the pursuit of its own interests. Furthermore, this policy reveals and raises the price a country needs to pay for its potential attempts to break free from the Russian zone of influence. At present the biggest challenge for the authorities in Astana is the accelerated implementation of the idea of the Eurasian Union promoted by Moscow, which is to be another stage in the integration of post-Soviet states (presently Russia, Kazakhstan and Belarus). The signing of the Eurasian Union’s founding documents planned for late May 2014 and the launch of this organisation (scheduled for January 2015) is sure to bring Kazakhstan closer to Russia and simultaneously limit its economic and political independence. Nevertheless, Astana’s position in relations with Moscow will to a large extent depend on the new shape of the relations between Russia and China. China is pursuing its own strategic interests in Central Asia (including in the energy sector) and its main partner in the region is Kazakhstan. At the domestic level, Russia’s actions in Ukraine made the authorities in Astana fear that measures similar to those used in Ukraine could be applied towards Kazakhstan. On the one hand this has led to increased efforts aimed at consolidating the state and strengthening its structures, and on the other hand it has brought about a revision of those aspects of domestic policy which Russia could interpret as a pretext for interfering.

The power of language and the language of power in M. T. Anderson’s Feed and Gary Stheyngart’s Super Sad True Love Story. A comparative analysis

The aim of my dissertation is to analyze how selected elements of language are addressed in two contemporary dystopias, Feed by M. T. Anderson (2002) and Super Sad True Love Story by Gary Shteyngart (2010). I chose these two novels because language plays a key role in both of them: both are primarily focused on the pervasiveness of technology, and on how the use/abuse of technology affects language in all its forms. In particular, I examine four key aspects of language: books, literacy, diary writing, as well as oral language. In order to analyze how the aforementioned elements of language are dealt with in Feed and Super Sad True Love Story, I consider how the same aspects of language are presented in a sample of classical dystopias selected as benchmarks: We by Yevgeny Zamyatin (1921), Brave New World by Aldous Huxley (1932), Animal Farm (1945) and Nineteen Eighty-Four (1949) by George Orwell, Fahrenheit 451 by Ray Bradbury (1952), and The Handmaid's Tale by Margaret Atwood (1986). In this way, I look at how language, books, literacy, and diaries are dealt with in Anderson’s Feed and in Shteyngart’s Super Sad True Love Story, both in comparison with the classical dystopias as well as with one another. This allows for an analysis of the similarities, as well as the differences, between the two novels. The comparative analysis carried out also takes into account the fact that the two contemporary dystopias have different target audiences: one is for young adults (Feed), whereas the other is for adults (Super Sad True Love Story). Consequently, I also consider whether further differences related to target readers affect differences in how language is dealt with. Preliminary findings indicate that, despite their different target audiences, the linguistic elements considered are addressed in the two novels in similar ways.