A voz e a vez de Eva: a nova heroína contemporânea em obras de José Saramago

A proposta deste trabalho é realizar uma análise da figura feminina nos romances Jangada de pedra, História do cerco de Lisboa e Ensaio sobre a cegueira, de José Saramago. Iniciando por uma breve pesquisa da história da mulher como forma de traçar a longa trajetória por que passou até a sua emancipação, o estudo revela, através da análise de diferentes identidades femininas, a abertura de uma nova concepção de mulher na literatura portuguesa.O escritor propõe em sua obra uma reflexão sobre a situação do mundo através do indivíduo e suas atitudes, responsabilidades e anseios. Os ensinamentos que seus romances costumam transmitir aos leitores, na maioria das vezes, partem de personagens femininas. A mulher se completa realizando o papel de mãe, protetora e companheira e, ao mesmo tempo, de amante e guerreira. Considerada pelo presente trabalho uma heroína contemporânea, ela engloba estas duas vertentes que a sociedade por muito tempo insistiu em separar, cuidando da casa e da família ao mesmo tempo em que trabalha e busca seu sustento fora de casa Também é a mulher que, nesta obra, tem o poder da sensibilidade e da compaixão ajudando àqueles que precisam, mesmo quando mal os conhece. E também é ela quem consegue, encantadoramente, metamorfosear-se de menina a mulher, intercalando as imagens de santa e prostituta, sedutora externamente e pura em sua essência.Entretanto, a escrita saramagueana não trata apenas de inibir a matriz patriarcal, ignorando com isso o papel do homem. O que há é o resgate das culturas primitivas matriarcais, com a mulher e o homem governando em igualdade e harmonia. Por este motivo, o homem também é muito importante em seus romances já que, em união com a mulher, incentivado e guiado por ela, partem juntos, através do amor, para uma travessia (humana) existencial, na busca do conhecimento

Ancient DNA from South-East Europe Reveals Different Events during Early and Middle Neolithic Influencing the European Genetic Heritage

The importance of the process of Neolithization for the genetic make-up of European populations has been hotly debated, with shifting hypotheses from a demic diffusion (DD) to a cultural diffusion (CD) model. In this regard, ancient DNA data from the Balkan Peninsula, which is an important source of information to assess the process of Neolithization in Europe, is however missing. In the present study we show genetic information on ancient populations of the South-East of Europe. We assessed mtDNA from ten sites from the current territory of Romania, spanning a time-period from the Early Neolithic to the Late Bronze Age. mtDNA data from Early Neolithic farmers of the Starcevo Cris culture in Romania (Carcea, Gura Baciului and Negrilesti sites), confirm their genetic relationship with those of the LBK culture (Linienbandkeramik Kultur) in Central Europe, and they show little genetic continuity with modern European populations. On the other hand, populations of the Middle-Late Neolithic (Boian, Zau and Gumelnita cultures), supposedly a second wave of Neolithic migration from Anatolia, had a much stronger effect on the genetic heritage of the European populations. In contrast, we find a smaller contribution of Late Bronze Age migrations to the genetic composition of Europeans. Based on these findings, we propose that permeation of mtDNA lineages from a second wave of Middle-Late Neolithic migration from North-West Anatolia into the Balkan Peninsula and Central Europe represent an important contribution to the genetic shift between Early and Late Neolithic populations in Europe, and consequently to the genetic make-up of modern European populations.

An illustrated key to the Malacostraca (Crustacea) of the northern Arabian Sea. Part 1: Introduction

The key deals with the Malacostraca from the northern Arabian Sea (22 degree 09'N to 10 degree N and 50 degree E to 76 degree E). It is compiled from the specimens available to us and those which are in the literature. An introduction to the class Malacostraca and key to the identification of subclasses, superorders and orders is given. Al the key characters are illustrated. Original references with later changes are mentioned. The key will be published in parts not necessarily in chronological order.

Effects of Cu-Wire Surface Fluctuations on Early Failures

Different chemical mechanical polishing （CMP） slurries are used to obtain single-damascene Cu-wires with different surface fluctuations as well as pre-existing surface-defects in wires with rougher surfaces. The presence of such pre-existing defects strongly increases the rate of early failures to almost 100%, reduces electromigration lifetime rapidly to the level of early failures, and changes the multimodal failure distribution into monomodal. The activation energy （0. 74±0.02eV） for the failure mechanism associated with these pre-existing defects confirms a dominant surface diffusion. It shows how a weakest link approximation analysis can he applied to a single wire by dividing the wire into relevant segments and assigning different failure mechanisms to the various segments. The analysis confirms that, although surface-defects are not the fastest early failure mechanism, the ten times higher surface-defectdensity in the rougher wires is responsible for the observed high early-failure rate and unreliable performance.

油气运聚动力学的模拟分析——以准噶尔盆地为例

The petroleum migration, happening in the geologic past, is the very important and complex dynamic processes in the petroleum systems. It plays a linking role among all static factors in a system. The accumulation is in fact the result of the petroleum migration. For the petroleum geology, the dynamics research of the petroleum migration refers to the mechanism and process research, as well as the use of the quantitative methods. In this thesis, combining with the qualitative analysis and quantitative modeling, the author manages to discuss theoretically some key problems dealing with migration processes, which have not been solved yet, and to apply the studied results in petroleum system analysis in actual basins. The basin analysis offers the base of the numerical modeling for geological phenomena occurring in sedimentary basins, that consists of the sedimentary facies analysis, the section reconstructing technique, eroded thickness estimating, etc. The methods to construct the geologic model, which is needed in the research of oil and gas migration and accumulation, are discussed. The basin analysis offers also the possibility for the latter modeling works to get and select the parameters, such as stratum's thickness, age, stratigraphy etc. Modeling works were done by using two basin modeling softwares: Basin_Mod and TPC_Mod. The role of compaction during the secondary migration and the heterogeneity of migrating paths within the clastic carrier are modeled. And the conclusions were applied in the migration studies in the Jungaer Basin, lying on the Northwest part of the China. To construct a reliable migration model, the author studied the characteristics of the sedimentation, the pore fluid pressure evolution, as well as the distribution and the evolution of fluid potential, following the tectonic evolution of the Jungaer Basin. The geochemical prospecting results were used to evidence and to calibrate the migration processes: the oil-source correlation, the distribution of the properties of oil, gas and water. Finally, two important petroleum systems, Permian one and Jurassic one were studied and identified, according, principally, to the studies on the petroleum migration within the Jungaer Basin. Since the oil, as well as the gas, moves mainly in separate phase during the secondary migration, their migrating behaviors would be determined by the dynamics conditions of migration, including the driving forces and pathways. Based on such a consideration, the further understandings may be acquired: the roles played by permeable carriers and low-permeable source rock would be very different in compaction, overpressure generation, petroleum migration, and so on. With the numerical method, the effect of the compaction on the secondary migration was analyzed and the results show that the pressure gradient and the flux resulted from compaction are so small that could be neglected by comparing to the buoyancy of oil. The main secondary migration driving forces are therefore buoyancy and capillary within a hydrostatic system. Modeling with the commercial software-Basin_Mod, the migration pathways of petroleum in clastic carriers seem to be inhomogeneous, controlled by heterogeneity of the driving force, which in turn resulted from the topography of seals, the fabrics and the capillary pressure of the clastic carriers. Furthermore, the direct and indirect methods to study fault-sealing properties in the course of migration were systemically summarized. They may be characterized directly by lithological juxtaposition, clay smear and diagenesis, and indirectly the comparing the pressures and fluid properties in the walls at two apartments of a fault. In Jungaer Basin, the abnormal pressures are found in the formations beneath Badaowan or Baijantan Formation. The occurrence of the overpressure seems controlled by the stratigraphy. The rapid sedimentation, tectonic pressuring, clay sealing, chemical diagensis were considered as the principal pressuring mechanisms. The evolution of fluid pressure is influenced differently at different parts of the basin by the tectonic stresses. So the basin appears different pressure evolution cycles from each part to another during the geological history. By coupling the results of thermal evolution, pressure evolution and organic matter maturation, the area and the period of primary migration were acquired and used to determine the secondary migration time and range. The primary migration in Fengcheng Formation happened from latter Triassic to early Jurassic in the main depressions. The main period of lower-Wuerhe Formation was at latter Jurassic in Changji, Shawan and Pen-1-jing-xi Depression, and at the end of early Cretaceous in Mahu Depression. The primary migration in Badaowan and Sangonghe Formation is at the end of early-Cretaceous in Changji Depression. After then, the fluid potential of oil is calculated at the key time determined from area and time of the primary migration. Generally, fluid potential of oil is high in the depressions and low at the uplifts. Synthetically, it is recognized that the petroleum migration in the Jungaer Basin is very complex, that leads us to classify the evolution of petroleum systems in Northwestern China as a primary stage and a reformed one. The remigration of accumulated petroleum, caused by the reformation of the basin, results in the generation of multiple petroleum systems. The faults and unconformities are usually the linkers among the original petroleum systems. The Permian petroleum system in Jungaer Basin is such a multiple petroleum system. However, the Jurassic petroleum system stays still in its primary stage, thought the strong influences of the new tectonic activities.

Understanding student information behavior in relation to electronic information services: lessons from longitudinal monitoring and evaluation Part 1

Rowley, J.& Urquhart, C. (2007). Understanding student information behavior in relation to electronic information services: lessons from longitudinal monitoring and evaluation Part 1. Journal of the American Society for Information Science and Technology, 58(8), 1162-1174. Sponsorship: JISC

New Collected Poems of W. S. Graham

Francis, Matthew, New Collected Poems of W. S. Graham, (London: Faber and Faber, 2004 RAE2008

Writing Home : Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature

Wilkinson, Jane, 'Writing Home: Martin Walser's Ein fliehendes Pferd as Anti-Tourist Literature', Journal of Tourism and Cultural Change (2006) 4(3) pp.001-017 RAE2008

Challengers to provisional republicanism: the official republican movement, people’s democracy and the Irish republican socialist party, 1968–98

The Provisional IRA and its political wing Sinn Féin have attracted by far the greatest scholarly interest of all the players in the Northern Irish conflict. This emphasis is perfectly legitimate, given the centrality of the Provos to so many turning-points in the conflict, from the collapse of Stormont in the early 1970s to the hunger strikes of the following decade and the ceasefires which were followed by the Belfast Agreement. My project, however, looks at political groups that at one time or another challenged the Provos for leadership of the militant, anti-state constituency in Northern Ireland (chiefly based in the Catholic working class). Although never as large or influential as the Provisional republicans, groups such as the Official IRA and the Irish Republican Socialist Party sometimes had a discernible impact on the course of events which is overlooked by most studies, and often pioneered ideas and tactics that were later adopted by the Provos themselves. The idea that republicans should embrace political action and work in broad campaigning alliances was promoted by the IRSP and socialist groups such as People’s Democracy before it was taken up by Gerry Adams and his allies, while the Official IRA supported the principle of a settlement based on democratization of the Northern Irish state, which was later accepted by Sinn Féin in the form of the Belfast Agreement. The goal of my research is to provide a novel perspective on the conflict in Northern Ireland, while engaging with theoretical debates about its character.

Merleau-Ponty and Nishida: Artistic expression as 'motor-perceptual faith'

This dissertation carries out a dialogue between Maurice Merleau-Ponty and Nishida Kitarō concerning their theories of artistic expression and faith. Both philosophers go through remarkably similar trajectories in their philosophic projects: In their early works they focus on the motor-perceptual body of the artist, and as they move towards the mature articulation of their ontologies, the concept of faith becomes central. I propose the term “motor-perceptual faith” to bring these seemingly diverse sets of concerns into a conceptual continuity. My study explores this connection, and argues that the artist’s motor-perceptual expressive body, as colourfully and sometimes poetically articulated in their early works, enacts the form of faith developed more abstractly in their later writings. Exploring these relations fosters a mutual expansion of the early by the later works, thus thickening the concept of faith by seeing it as enacted by the artist, while enlarging the concept of artistic expression by understanding it as a practice of motor‐perceptual faith. Framing these philosophers as putting forth a traditionally religious concept as illustrated by way of artistic expression, offers a new articulation of both of their writings, an important conceptual bridge between the two, while challenging un-ambiguous distinctions between art, philosophy and religion, and ultimately philosophy East and West.

From respect for nature to agency as realisation in response to the ecological emergency

'The ecological emergency’ describes both our emergence into, and the way we relate within, a set of globally urgent circumstances, brought about through anthropogenic impact. I identify two phases to this emergency. Firstly, there is the anthropogenic impact itself, interpreted through various conceptual models. Secondly, however, is the increasingly entrenched commitment to divergent conceptual positions, that leads to a growing disparateness in attitudes, and a concurrent difficulty with finding any grounds for convergence in response. I begin by reviewing the environmental ethics literature in order to clarify which components of the implicit narratives and beliefs of different positions create the foundations for such disparateness of views. I identify the conceptual frameworks through which moral agency and human responsibility are viewed, and that justify an ethical response to the ecological emergency. In particular, I focus on Paul Taylor's thesis of 'respect for nature' as a framework for revising both the idea that we are ‘moral’ and the idea that we are ‘agents’ in this unique way, and I open to question the idea that any response to the ecological emergency need be couched in ethical terms. This revision leads me to formulate an alternative conceptual model that makes use of Timothy Morton’s idea of enmeshment. I propose that we dramatically revise our idea of moral agency using the idea of enmeshment as a starting point. I develop an alternative framework that locates our capacity for responsibility within our capacity for realisation, both in the sense of understanding, and of making real, sets of conditions within our enmeshment. I draw parallels between this idea of ‘realisation as agency’ and the work of Dōgen and other non-dualists. I then propose a revised understanding of ‘the good’ of systems from a biophysical perspective, and compare this with certain features of Asian traditions of thought. I consider the practical implications of these revisions, and I conclude that the act of paying close attention, or realising, contains our agency, as does the attitude, or manner, with which we focus. This gives us the basis for a convergent response to the ecological emergency: the way of our engagement that is the key to responding to the ecological emergency

TRADITION AND INNOVATION: ANALYSIS AND PERFORMANCE OF SELECTED COMPOSITIONS FOR VIOLONCELLO BY HEITOR VILLA-LOBOS

Brazilian composer Heitor Villa-Lobos (1887-1959) began his musical career as a cellist. When he was only twelve years old, it became imperativeupon the sudden and untimely death of his fatherthat the young Villa-Lobos earn money as a cellist to provide financial support for his mother and sisters. Villa-Lobos's intimate relationship with the cello eventually inspired him to compose great music for this instrument. This dissertation explores both the diversity of compositional technique and the evolution of style found in the music for cello written by Villa-Lobos. The project consists of two recorded recital performances and a written document exploring and analyzing those pieces. In the study of the music of Villa-Lobos, it is of great interest to consider the music's traditional European elements in combination (or even juxtaposition) with its imaginative and sometimes wildly innovative Brazilian character. His early works were greatly influenced by European Romantic composers such as Robert Schumann, Frédéric Chopin, and the virtuoso cellist/composer David Popper (whom Villa-Lobos idolized). Later, Villa-Lobos flourished in a newfound compositional independence and moved away from Euro-romanticism and toward the folk music of his Brazilian homeland. It is intriguing to experience this transition through an exploration of his cello compositions. The works examined and performed in this dissertation project are chosen from among the extensive number of Villa-Lobos's cello compositions and are his most important works for cello with piano, cello with another instrument, and cello with orchestra. The chosen works demonstrate the evolving range and combination of characteristic elements found in Villa-Lobos's compositional repertoire.

Facts and Fictions: Feminist Literary Criticism and Cultural Critique, 1968-2012

"Facts and Fictions: Feminist Literary Criticism and Cultural Critique, 1968-2012" is a critical history of the unfolding of feminist literary study in the US academy. It contributes to current scholarly efforts to revisit the 1970s by reconsidering often-repeated narratives about the critical naivety of feminist literary criticism in its initial articulation. As the story now goes, many of the most prominent feminist thinkers of the period engaged in unsophisticated literary analysis by conflating lived social reality with textual representation when they read works of literature as documentary evidence of real life. As a result, the work of these "bad critics," particularly Kate Millett and Andrea Dworkin, has not been fully accounted for in literary critical terms.

This dissertation returns to Dworkin and Millett's work to argue for a different history of feminist literary criticism. Rather than dismiss their work for its conflation of fact and fiction, I pay attention to the complexity at the heart of it, yielding a new perspective on the history and persistence of the struggle to use literary texts for feminist political ends. Dworkin and Millett established the centrality of reality and representation to the feminist canon debates of "the long 1970s," the sex wars of the 1980s, and the more recent feminist turn to memoir. I read these productive periods in feminist literary criticism from 1968 to 2012 through their varied commitment to literary works.

Chapter One begins with Millett, who de-aestheticized male-authored texts to treat patriarchal literature in relation to culture and ideology. Her mode of literary interpretation was so far afield from the established methods of New Criticism that she was not understood as a literary critic. She was repudiated in the feminist literary criticism that followed her and sought sympathetic methods for reading women's writing. In that decade, the subject of Chapter Two, feminist literary critics began to judge texts on the basis of their ability to accurately depict the reality of women's experiences.

Their vision of the relationship between life and fiction shaped arguments about pornography during the sex wars of the 1980s, the subject of Chapter Three. In this context, Dworkin was feminism's "bad critic." I focus on the literary critical elements of Dworkin's theories of pornographic representation and align her with Millett as a miscategorized literary critic. In the decades following the sex wars, many of the key feminist literary critics of the founding generation (including Dworkin, Jane Gallop, Carolyn Heilbrun, and Millett) wrote memoirs that recounted, largely in experiential terms, the history this dissertation examines. Chapter Four considers the story these memoirists told about the rise and fall of feminist literary criticism. I close with an epilogue on the place of literature in a feminist critical enterprise that has shifted toward privileging theory.

WORKS BY FRANCO-BELGIAN COMPOSERS AND THE VIOLINISTS WHO INSPIRED THEM

In the late nineteenth century, French composers such as Camille Saint- Saens, Cesar Franck, and Claude Debussy worked to elevate instrumental music in late-Romantic period France, creating symphonies, concertos, and chamber ensembles, including duo sonatas. These composers and followers like, Ernest Chausson and Guillaume Lekeu were all influenced by a particular violinist to whom they dedicated their compositions. The primary violinist who inspired these composers was Eugene Ysaye (1858-1931), a brilliant performer and composer. His freedom of expression motivated many prominent French composers to dedicate major works to him. For example, Debussy dedicated his string quartet to Ysaye, who established the Ysaye Quartet and premiered Debussy's composition. In 1886, Franck completed his sonata for violin and piano which he also dedicated to Ysaye. Fritz Kreisler (1875-1962), one of the most talented violinists of his era, had a relationship withYsaye that was quite special. They respected, supported, and befriended each other. To Ysaye, Kreisler dedicated his Recitativo and Scherzo. To Kreisler, Ysaye dedicated one ofhis celebrated Sonatas for Solo Violin. Pablo de Sarasate (1844-1908) was a magnificent Spanish violinist of the late nineteenth century, and his music and performances influenced many composers, especially Saint-Saens, who included Spanish gypsy fragments in his works. These motifs may found in his Havanaise, Introduction and Rondo Capriccioso and Violin Concerto No.3 which were dedicated to Sarasate. My goal for this dissertation project has been to find and present, in three recitals, works by French composers and also works by the violinists who inspired them. As a violinist, I have endeavored to understand the influence of the various violinists on these French composers and how that knowledge can inform my approach to performing these works. In my first recital, with pianist Soo Young Jung, I performed works by Saint-Saens, Ysaye and Sarasate. With pianist Sun Ha Yoon, I performed works by Ysaye, Debussy, Kreisler and Franck in my second recital. My third recital, again with pianist Sun Ha Yoon, featured works by Ysaye, Chausson, and Lekeu. All recitals were recorded and performed at the University ofMaryland, College Park.

IMPROVISATION AND THE CONCERT SAXOPHONIST: A SURVEY OF COMPOSITIONAL AND PERFORMANCE TECHNIQUES

Much of the contemporary concert (i.e. “classical”) saxophone literature has connections to compositional styles found in other genres like jazz, rock, or pop. Although improvisation exists as a dominant compositional device in jazz, improvisation as a performance technique is not confined to a single genre. This study looks at twelve concert saxophone pieces that are grouped into three primary categories of compositional techniques: 1) those containing unmeasured phrases, 2) those containing limited relation to improvisation but a close relationship to jazz styles, and 3) those containing jazz improvisation. In concert saxophone music, specific crossover pieces use the compositional technique of jazz improvisation. Four examples of such jazz works were composed by Dexter Morrill, Phil Woods, Bill Dobbins, and Ramon Ricker, all of which provide a foundation for this study. In addition, pieces containing varying degrees of unmeasured phrases are highlighted. As this dissertation project is based in performance, the twelve pieces were divided into three recitals that summarize a pedagogical sequence. Any concert saxophonist interested in developing jazz improvisational skills can use the pieces in this study as a method to progress toward the performance of pieces that merge jazz improvisation with the concert format. The three compositional techniques examined here will provide the performer with the necessary material to develop this individualized approach to improvisation. Specific compositional and performance techniques vary depending on the stylistic content: this study examines improvisation in the context of concert saxophone repertoire.