Beyond Swastika and Jim Crow- FIU reception

Reception for the Coral Gables Museum exhibit of "Beyond Swastika and Jim Crow" held at Florida International University on October 26,2014

Integration of Colombian refugees in Costa Rica : an ethnographic approach to the refugees' legal, economic, and social experiences

This qualitative study, based on interviews to 17 refugee families, attempts to identify the reasons behind the lack of integration of Colombian refugees in Costa Rica. The model of Immigrant Modes of Incorporation and the studies of Alejandro Portes and Julia Sensenbrenner about the sources of social capital on migrant communities provided the theoretical framework used to identify the roots of the integration challenges. The findings suggest that Costa Rican policies towards the reception and integration of Colombian refugees are exclusionary. The host labor market is marked by sentiments of xenophobia towards the sample population while reported cases of persecution in the country also inhibit this population's economic integration. The lack of social capital sources contributes to inhibit this community's development, despite their participation in informal networks. There were signs of collective action. Yet, the refugee community fails to come together, while it also seems alienated from the community of Colombian entrepreneurs in Costa Rica.

A TV como objeto de leitura da imagem no contexto escolar: uma pesquisa-ação com alunos do ensino médio

This research seeks to reflect on the dynamics of television reception, studying the Brazilian TV miniseries Hoje é Dia de Maria, produced by Globo Television Network, and aims to generally promote inferences in the process of image reading, mainly for aesthetic reading in school context, aiming at the formation of visual proficient readers. The research was conducted with students from the third grade of a state high school, geographically located in the city of Natal, Rio Grande do Norte. The theoretical framework comes from the assumptions of cognitive social interactionism to understand language, and it is also based on the ideas of Bakhtin (1992) and Vygotsky (1998), which enabled us to understand the social interaction and the Theory of Aesthetics Reception and Aesthetic Effect with Jauss (1979) and Iser (1999), which provided a better understanding of aesthetic experience, aesthetic effects and production of meaning. The methodological approach assumes a qualitative nature and an interpretive bias, accomplished through interviews, observation, questionnaire and application of a set of investigative activities, such as introductory exposition of themes, handing out of images and mediation process. This research is the result of a research-action process in a pedagogical intervention in a state school. The results indicate that the interactional linguistic resources used by the speakers demonstrated lack of prior knowledge and repertoire regarding image reading, which initially led them to do a cursory reading. It was evident that the respondents were unaware of the initial proposal. However, throughout the meetings, it was possible to realize their transformation, because the pre-established concepts were analyzed with the help of mediation, so that the group felt more autonomous and safe to read images at the end. The survey also showed significant data, so that the school could develop new methods of teaching televisual reading.

Effect of acetyl resin retentive arms on the retentive force ofcircumferential clasps: an in vitro study.

PURPOSE: To compare and to evaluate the stability of the retentive force of cobalt-chromium (Co-Cr) circumferential clasps (control) to those with an acetyl resin retentive arm. METHODS: Sixteen specimens with a couple of circumferential clasps were made using Co-Cr over a metal model providing 0.25 mm undercuts. Eight specimens were fabricated without the anterior retentive arm, which was made later using acetyl resin (Dental D). Insertion and removal simulation test was performed through 7250 cycles. The retentive force was recorded in Newtons (N) for periods corresponding to 0, 1, 2, 3, 4, and 5 years. The data were subjected to ANOVA and Tukey test to compare periods and to Student's t test to compare groups (α=0.05). RESULTS: Mean (SD) is presented for Co-Cr and resin groups, respectively: 8.09(3.05) and 2.79(1.57) in period 0; 10.48(4.25) and 3.32(1.92) in 1 year; 10.09(4.15) and 3.47(1.81) in 2 years; 9.87(4.30) and 3.46(1.87) in 3 years; 9.46(3.93) and 3.27(1.59) in 4 years; 9.63(3.79) and 3.41(1.59) in 5 years. There were significant differences for Co-Cr between periods of 0 and 1 (p<0.001), 0 and 2 (p<0.01) and 0 and 3 (p<0.05). In the resin group, no significant differences were found between periods (p>0.05). Comparisons between the groups showed statistical differences for all tested periods: 0 (p=0.0012), 1 (p=0.0013), 2 (p=0.0019), 3 (p=0.0031), 4 (p=0.0027) and 5 years (p=0.0014). CONCLUSIONS: Acetyl resin retentive arms, even if only in the anterior clasps, can significantly reduce the retentive force, but this force remained stable after 5 years of simulated use.

Shere Hite at Flo Kennedy's Reception

General note: Title and date provided by Bettye Lane.

The sound of whiteness: early music vocal performance practice in Britain

American Musicological Society annual meeting, San Francisco, 10 Nov. 2011

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.

Akrasia and the Aesthetic: Human Agency and the Site of Literature, 1760-1820

This study focuses on a series of foundational stylistic and formal innovations in eighteenth-century and Romantic literature, and argues that they can be cumulatively attributed to the distinct challenges authors faced in representing human action and the will. The study focuses in particular on cases of “acting against better judgment” or “failing to do what one knows one ought to do” – concepts originally theorized as “akrasia” and “weakness of the will” in ancient Greek and Scholastic thought. During the Enlightenment, philosophy increasingly conceives of human minds and bodies like systems and machines, and consequently fails to address such cases except as intractable or incoherent. Yet eighteenth-century and Romantic narratives and poetry consistently engage the paradoxes and ambiguities of action and volition in representations of akrasia. As a result, literature develops representational strategies that distinguish the epistemic capacities of literature as privileged over those of philosophy.

The study begins by centering on narratives of distempered selves from the 1760s. Jean-Jacques Rousseau’s Confessions and Laurence Sterne’s A Sentimental Journey narrate cases of knowingly and weakly acting against better judgment, and in so doing, reveal the limitations of the “philosophy of the passions” that famously informed sentimental literature at the time. These texts find that the interpretive difficulties of action demand a non-systematic and hermeneutic approach to interpreting a self through the genre of narrative. Rousseau’s narrative in particular informs William Godwin’s realist novels of distempered subjects. Departing from his mechanistic philosophy of mind and action, Godwin develops the technique of free indirect discourse in his third novel Fleetwood (1805) as a means of evoking the ironies and self-deceptions in how we talk about willing.

Romantic poetry employs the literary trope of weakness of will primarily through the problem of regretted inaction – a problem which I argue motivates the major poetic innovations of William Wordsworth and John Keats. While Samuel Taylor Coleridge sought to characterize his weakness of will in philosophical writing, Wordsworth turns to poetry with The Prelude (1805), revealing poetry itself to be a self-deceiving and disappointing form of procrastination. More explicitly than Wordsworth, John Keats identifies indolence as the prime symbol and basis of what he calls “negative capability.” In his letters and poems such as “On Seeing the Elgin Marbles” (1817) and “Ode on Indolence” (1819), Keats reveals how the irreducibly contradictory qualities of human agency speak to the particular privilege of “disinterested aesthetics” – a genre fitted for the modern era for its ability to disclose contradictions without seeking to resolve or explain them in terms of component parts.

Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

Performing Irishness: translations of Irish drama for the Galician stage (1921-2011)

This PhD thesis provides a detailed analysis of the role and significance of Irish drama in the Galician cultural context, from the early twentieth century onwards, through scrutiny of key works translated, adapted and mediated for the Galician stage. Drawing primarily on the theoretical framework of Descriptive Translation Studies, informed by Polysystems theory (Toury), Post-colonial Translation, research on processes of cultural translation (Bassnett, Lefevere, Venuti, Aaltonen), as well as careful comparative attention to the specificities of literary, theatrical and cultural context, I examine the factors governing the incorporation, reshaping and reception of twentieth century Irish plays in Galicia in order to produce a cultural history of the representation of Ireland on the Galician stage. Focusing on the five key periods I have identified in the translation/reception of Irish drama in Galicia, as represented in specific versions of plays by Yeats, Synge, O’Casey and McDonagh, my thesis examines in detail the particular linguistic, sociopolitical, theatrical and cultural dimensions of each rewriting and/or restaging in order to uncover the ways in which Irish identity is perceived, constructed and performed in a Galician context. Moving beyond the literary, historical and philological focus of existing studies of the reception of Irish literature and foreign dramatic texts in the Galician system, my own approach draws on Theatre and Performance Studies to attend also to the performative dimension of these processes of cultural adaptation and reception, giving full account of the different agents involved in theatre translation as a rich and complex process of multivalent cultural mediation.

Elizabeth Bowen and the art of visuality

This thesis is the first sustained assessment of Elizabeth Bowen’s writing from a visual perspective. By first compiling a visual biography of the author, I argue that Bowen’s responsiveness to art, her relationships with artists, and her knowledge of modern and traditional aesthetics are formative influences on her work. Investigating her assertion that she was a “visual writer,” my discussion develops into an examination of her technique of “verbal painting” through which she reinvents traditional visual modes as a personal modernist idiom. Close textual analysis of Bowen’s fictions forms the dominant methodology of this thesis and facilitates my delineation of her engagement with the Futurist and Surrealist aesthetics in addition to broader aspects of her visuality, including her treatment of the “vividly visual” dream-state to the distinct ocularcentricity of her writing. Ultimately, this thesis seeks to advance our knowledge of Bowen’s visual method and to offer a new approach in which to nuance our understanding of her modernism

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.

DESIGN OF A MINIATURIZED SOP INTEGRATED GNSS RF FRONT-END MODULE

Navigation devices used to be bulky and expensive and were not widely commercialized for personal use. Nowadays, all useful electronic devices are turning into being handheld so that they can be conveniently used anytime and anywhere. One can claim that almost any mobile phone, used today, has quite strong navigational capabilities that can efficiently work anywhere in the globe. No matter where you are, you can easily know your exact location and make your way smoothly to wherever you would like to go. This couldn’t have been made possible without the existence of efficient and small microwave circuits responsible for the transmission and reception of high quality navigation signals. This thesis is mainly concerned with the design of novel highly miniaturized and efficient filtering components working in the Global Navigational Satellite Systems (GNSS) frequency band to be integrated within an efficient Radio Frequency (RF) front-end module (FEM). A System-on-Package (SoP) integration technique is adopted for the design of all the components in this thesis. Two novel miniaturized filters are designed, where one of them is a wideband filter targeting the complete GNSS band with a fractional bandwidth of almost 50% at a center frequency of 1.385 GHz. This filter utilizes a direct inductive coupling topology to achieve the required wide band performance. It also has very good out-of-band rejection and low IL. Whereas the other dual band filter will only cover the lower and upper GNSS bands with a rejection notch in between the two bands. It has very good inter band rejection. The well-known “divide and conquer” design methodology was applied for the design of this filter to help save valuable design and optimization time. Moreover, the performance of two commercially available ultra-Low Noise Amplifiers (LNAs) is studied. The complete RF FEM showed promising preliminary performance in terms of noise figure, gain and bandwidth, where it out performed other commercial front-ends in these three aspects. All the designed circuits are fabricated and tested. The measured results are found to be in good agreements with the simulations.

THE DESIGN OF A POWER SYSTEM FOR A WIRELESS SENSOR NETWORK FOR LONG-TERM OPERATION

Wireless sensor networks (WSNs) have shown wide applicability to many fields including monitoring of environmental, civil, and industrial settings. WSNs however are resource constrained by many competing factors that span their hardware, software, and networking. One of the central resource constrains is the charge consumption of WSN nodes. With finite energy supplies, low charge consumption is needed to ensure long lifetimes and success of WSNs. This thesis details the design of a power system to support long-term operation of WSNs. The power system’s development occurs in parallel with a custom WSN from the Queen’s MEMS Lab (QML-WSN), with the goal of supporting a 1+ year lifetime without sacrificing functionality. The final power system design utilizes a TPS62740 DC-DC converter with AA alkaline batteries to efficiently supply the nodes while providing battery monitoring functionality and an expansion slot for future development. Testing tools for measuring current draw and charge consumption were created along with analysis and processing software. Through their use charge consumption of the power system was drastically lowered and issues in QML-WSN were identified and resolved including the proper shutdown of accelerometers, and incorrect microcontroller unit (MCU) power pin connection. Controlled current profiling revealed unexpected behaviour of nodes and detailed current-voltage relationships. These relationships were utilized with a lifetime projection model to estimate a lifetime between 521-551 days, depending on the mode of operation. The power system and QML-WSN were tested over a long term trial lasting 272+ days in an industrial testbed to monitor an air compressor pump. Environmental factors were found to influence the behaviour of nodes leading to increased charge consumption, while a node in an office setting was still operating at the conclusion of the trail. This agrees with the lifetime projection and gives a strong indication that a 1+ year lifetime is achievable. Additionally, a light-weight charge consumption model was developed which allows charge consumption information of nodes in a distributed WSN to be monitored. This model was tested in a laboratory setting demonstrating +95% accuracy for high packet reception rate WSNs across varying data rates, battery supply capacities, and runtimes up to full battery depletion.