Dissertations / Theses on the topic 'Cirene'

Il lavoro sul ciclo dell’acqua a Cirene si presenta come il frutto di un’ampia ed articolata ricerca che all’analisi accurata di tutte le fonti bibliografiche relative all’importante sito nord-africano, unisce i dati desunti dalla documentazione d’archivio e dalle vecchie relazioni di scavo, tra cui vi sono ancora molti materiali inediti, ma anche un’attenta indagine sul campo, condotta nel corso di diverse campagne di scavo, la cui continuità è stata resa impossibile poi dalle mutate condizioni politiche della Libia. Va sottolineato il fatto che solo in tempi relativamente recenti nella ricerca archeologica sul campo si è prestata maggior attenzione agli aspetti relativi all’ingegneria idraulica e alle infrastrutture ad essa collegate: soprattutto nei grandi centri dell’antichità l’interesse è rivolto principalmente all’impianto urbanistico, alla viabilità, alle fasi edilizie dei grandi edifici, agli apparati decorativi. A maggior ragione quindi risulta meritevole un lavoro di questo tipo che, nonostante le difficoltà derivanti da una documentazione spesso carente o incompleta e dell’ampiezza del contesto analizzato riesce a delineare un quadro generale dell’approvvigionamento idrico della città di Cirene, ben nota in letteratura per la complessità del suo impianto urbanistico, ivi comprese le diverse aree santuariali ad essa strettamente correlate. Ad una utile e quanto mai opportuna nota introduttiva sugli aspetti idrogeologici della Cirenaica, segue l’analisi della documentazione relativa all’approvvigionamento idrico nei diversi settori della città, caratterizzati da funzioni e aspetti particolari: nel Quartiere dell’Agorà ad esempio si registra una ben ripartita distribuzione di pozzi e cisterne, funzionali alle esigenze della vita quotidiana, mentre il grande e rinomato Santuario di Apollo gravita intorno alla presenza della fonte sacra al dio, intorno a cui si organizza e si evolve nel tempo tutto il complesso di strutture rituali e sacrali, ma anche funzionali, come il Balaneion, necessarie in un contesto di grande affluenza di fedeli e quindi di visibilità da parte dei promotori, finanziatori e costruttori. Particolarmente interessante risulta il quadro dell’evoluzione nel tempo delle necessità idriche, che in epoca ellenistico-romana rende necessaria la generale riorganizzazione idraulica del complesso di vasche e riserve d’acqua, l’Aqua Augusta, a supporto delle aumentate necessità, anche a livello di “esibizione” dell’acqua attraverso le numerose fontane e la realizzazione alla fine del I sec. d.C. del primo grande complesso termale di tipo romano, fino alle successive trasformazioni dopo il terremoto del 365 d.C., che portarono alla riorganizzazione del vasto settore termale in due complessi distinti, uniti da un ingresso comune: le Piccole e le Grandi Terme. Molto particolare è la situazione all’interno del Santuario di Demetra, la cui localizzazione fu scelta dagli antichi proprio per le caratteristiche idrografiche del territorio, ricco di piccole sorgenti e vicino al corso dell’uadi Bel Gadir, dove l’acqua necessaria ai riti iniziatici veniva immagazzinata all’interno di alcune cisterne scavate nella roccia per essere utilizzata in bacini lustrali. Di grande interesse risulta poi il riesame dei grandi serbatoi monumentali collegabili all’acquedotto di Cirene, presi in considerazione in passato soprattutto per l’eccezionale presenza, sui blocchi lapidei con cui sono costruiti, di contrassegni epigrafici. Nel corso delle campagne di scavo condotte dall’Università di Urbino negli anni compresi fra il 2008 e il 2012, è stato possibile procedere ad un’accurata documentazione delle cisterne del Caravanserraglio, dell’uadi Bu Turquia e del vicino villaggio di Saf-Saf, restituendo un’analisi completa delle strutture e del ricco corredo epigrafico, giungendo alla proposta ricostruttiva del percorso che l’acquedotto che riforniva Cirene doveva seguire dalle sorgenti di Ghegab fino alla città per una lunghezza di circa 19 km. Appare convincente, sulla base dello studio dei contrassegni epigrafici incisi sui blocchi costruttivi dei serbatoi, interpretabili come marche di cava, ma anche per il collegamento al nuovo sviluppo urbanistico della città verso sud-est, la datazione proposta per la realizzazione dell’acquedotto in età tardo-ellenistica: in questo contesto l’area su cui insistono i serbatoi viene a definire il limite stesso dell’estensione urbana, che va ad inglobare nella nuova cinta muraria i santuari periferici di Apollo e Zeus. Numerosi interventi di restauro all’acquedotto e alle strutture collegate avvennero sicuramente in età imperiale, come potrebbe documentare anche un’iscrizione dell’epoca di Marco Aurelio che ricorda la costruzione di receptacula o serbatoi, realizzati con denaro pubblico. Il quadro della rete idrica a Cirene si completa con l’analisi anche del sistema di smaltimento delle acque, ugualmente ripercorso sia attraverso la documentazione d’archivio che con la ricerca sul campo, documentandone la complessità e l’articolazione, che certamente si sviluppano cronologicamente durante tutto il periodo di vita della città; probabilmente in età ellenistica venne realizzato il grande collettore di drenaggio, più volte ripreso con diversi interventi durante il periodo imperiale romano. Dopo aver fornito un quadro cronologico conclusivo, in forma schematica, con l’individuazione di grandi tappe collegabili alle principali fasi storiche di vita della città di Cirene, dalla fondazione coloniale in epoca arcaica alla conquista araba del 641 d.C., si è poi affrontata, privilegiando gli aspetti utili per i possibili confronti con la capitale, l’analisi della documentazione relativa agli acquedotti antichi in Cirenaica, in grandi e piccoli centri. Ne emerge un utile contesto di riferimento per le analoghe caratteristiche morfologiche del territorio e di popolamento in epoca greca e romana. In questo contesto più ampio e generale, emerge la carenza di studi specifici, nella maggior parte datati: tranne pochi casi, essi risalgono ad un periodo compreso tra il XIX e l’inizio del XX secolo, talvolta rimasti inediti. Prezioso completamento e arricchimento del lavoro è un vasto apparato grafico e fotografico, che riunisce e spesso pone a confronto la vecchia e la nuova documentazione: in molti casi il supporto delle fotografie d’epoca aggiunge informazioni e dati ormai irrecuperabili sul terreno. Le piante generali di Cirene, aggiornate con i nuovi dati, restituiscono visivamente la distribuzione delle strutture connesse all’impianto idrico e la loro attribuzione cronologica, ricomponendo il quadro unitario della ricerca. La ricerca vuole essere un contributo utile sia alle indagini su Cirene e la Cirenaica che alle tematiche relative all’idraulica antica,

Lo sviluppo del cristianesimo e la sua affermazione nell'Impero Romano nel IV secolo d.C. La rielaborazione del pensiero antico alla luce della dottrina cristiana; e Sinesio come interlocutore tra la religione cristiana e la dottrina platonica e neoplatonica.

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Deutscher Akademischer Austauschdienst (DAAD)
A investigação se propõe analisar as obras De Regno (Ao imperador, sobre a realeza) e De Providentia (Aos egípcios, sobre a providência), ambas de autoria do filósofo norte-africano Sinésio de Cirene, supostamente escritas no momento em que participa da embaixada em Constantinopla, entre 397 e 400 d.C., a serviço de sua cidade nativa, Cirene, na província da Líbia Superior/ Cirenaica, norte da África. No centro de nossa investigação, encontram-se as estratégias discursivas e os topoi retóricos empregados por Sinésio para a construção de um ethos político favorável não só à construção de uma imagem de si que se ajusta ao papel do filósofo na política imperial, mas também à representatividade política de famílias abastadas na administração imperial, haja vista seu envolvimento e o de sua família nos quadros político-administrativos do Império Romano. A proposição de uma análise retórica pelo viés da construção do ethos político pode nos oferecer informações sobre as estratégias empreendidas por aristocratas da África romana tardia para se firmar no cenário político romano
The research aims to analyze the works De Regno (To the emperor, on the royalty) and De Providentia (To the Egyptians, on Providence), both written by the North African philosopher Synesius of Cyrene, who wrote them supposedly during his participation in the embassy in Constantinople between 397 and 400 AD serving his native city, Cyrene, in the province of Lybia Superior/Cyrenaica, North Africa. In the center of our research are the discursive strategies and rhetorical topoi used by Synesius to the construction of a political ethos in favor not only of the building of an image of himself that fits the role of the philosopher in imperial policy, but also of the political representation of wealthy families in the imperial administration, considering his involvement and his family’s involvement in political and administrative cadres of the Roman Empire. The proposition of a rhetorical analysis by the bias of the construction of political ethos can offer information on the strategies undertaken by aristocrats of the late Roman Africa who sought to establish themselves in the Roman political scene

Orientador: Pedro Geraldo Tosi
Coorientador: Elaine Cristine Sartorelli
Banca: Therese Fuhrer
Banca: Breno Battistin Sebastiani
Banca: Pablo Shwartz Frydman
Banca: Elizabete Sanches Rocha
Resumo: A investigação se propõe analisar as obras De Regno (Ao imperador, sobre a realeza) e De Providentia (Aos egípcios, sobre a providência), ambas de autoria do filósofo norte-africano Sinésio de Cirene, supostamente escritas no momento em que participa da embaixada em Constantinopla, entre 397 e 400 d.C., a serviço de sua cidade nativa, Cirene, na província da Líbia Superior/ Cirenaica, norte da África. No centro de nossa investigação, encontram-se as estratégias discursivas e os topoi retóricos empregados por Sinésio para a construção de um ethos político favorável não só à construção de uma imagem de si que se ajusta ao papel do filósofo na política imperial, mas também à representatividade política de famílias abastadas na administração imperial, haja vista seu envolvimento e o de sua família nos quadros político-administrativos do Império Romano. A proposição de uma análise retórica pelo viés da construção do ethos político pode nos oferecer informações sobre as estratégias empreendidas por aristocratas da África romana tardia para se firmar no cenário político romano
Abstract: The research aims to analyze the works De Regno (To the emperor, on the royalty) and De Providentia (To the Egyptians, on Providence), both written by the North African philosopher Synesius of Cyrene, who wrote them supposedly during his participation in the embassy in Constantinople between 397 and 400 AD serving his native city, Cyrene, in the province of Lybia Superior/Cyrenaica, North Africa. In the center of our research are the discursive strategies and rhetorical topoi used by Synesius to the construction of a political ethos in favor not only of the building of an image of himself that fits the role of the philosopher in imperial policy, but also of the political representation of wealthy families in the imperial administration, considering his involvement and his family's involvement in political and administrative cadres of the Roman Empire. The proposition of a rhetorical analysis by the bias of the construction of political ethos can offer information on the strategies undertaken by aristocrats of the late Roman Africa who sought to establish themselves in the Roman political scene
Doutor

Cette thèse doctorale est le fruit de trois années de recherche, accomplie notamment à Paris et à Rome. Elle porte sur un commentaire au traité Sur les songes de Synésios de Cyrène, dont elle contient la première édition critique. Notre travail de recherche a nous permis d’établir que ce commentaire remonte, à peu près, aux années vingt du XIVe siècle, à savoir à la même période à laquelle Nicéphore Grégoras rédigeait son propre commentaire au même traité de Synésios. Cette coïncidence temporelle nous a amenés à nous poser la question du rapport entre les deux œuvres exégétiques : à laquel, par exemple, il faut attribuer la précédence chronologique ? Qui était l’auteur anonyme du commentaire inédit et quel rapport avait-il avec Grégoras ? L’effort de répondre à ces questions nous a amenés, enfin, à considérer les raisons d’intérêt que les Byzantins de l’époque pouvaient avoir à l’égard du traité de Synésios, étant donné qu’il est le seul, à l’exception de l’épistolaire, qui a été commenté par des savants à Byzance. La dernière partie de la thèse, donc, est dédiée à l’analyse de la première époque des Paléologues (de la fin du XIIIe au début du XIVe siècle). Notre conclusion est que, pendant une période de crise identitaire, les Byzantins pouvaient retrouver dans ce genre d’ouvrages remontant à l’Antiquité leurs propres racines culturelles
This PhD dissertation deals with a commentary on Synesius of Cyrene’s On Dreams, of which it includes the first critical edition. It is the result of a three-years research: I spent most of this time in Paris and Rome.The research allowed me to establish that the commentary approximately dates back to 1320s, that is, to the same period in which Nicephorus Gregoras wrote his commentary on the same Synesius’ treaty. This chronological coincidence led me to investigate the relationship between these two different exegetical works. I could not avoid wondering, for instance, “Which commentary has the chronological priority?”, “Who is the anonymous author of the inedited scholia and which is his relationship with Gregoras?”. The effort to answer to these questions finally led me to consider the real reasons for interest in the treaty On Dreams in that period, since it is the only Synesius’ work – apart from his epistolary – which has been commented by Byzantine scholars. Thus, the last part of the dissertation is dedicated to the historical analysis of the first Palaiologan period (late 13th – early 14th century). My conclusion is that – during a period of identity crisis – Byzantine scholars might find in this kind of works (dating back to Antiquity) their own cultural roots

2008/2009
L'importanza e l'interesse dell’argomento di questa tesi di dottorato discendono dalla centralità che il culto di Apollo Carneo aveva nell'ambito della religione e della società spartana, esemplificata dal modo in cui la festività ad esso connessa poteva incidere sull’andamento di alcuni eventi bellici fondamentali nella storia greca. Il culto di Apollo Carneo, infatti, era diffuso nella maggior parte delle poleis greche doriche ed era particolarmente sentito a Sparta. Esso comportava l’astenersi dalle guerre per tutta la durata della festa. Si possono individuare le conseguenze di tale divieto in alcuni passi di Erodoto e di Tucidide: gli Spartani non giunsero in aiuto degli Ateniesi nella battaglia di Maratona perché dovevano attendere la fine delle celebrazioni delle Carnee prima di partire (Hdt. VI 106,3); gli Spartani inviarono alle Termopili un piccolo contingente agli ordini di Leonida proprio perché in quel periodo si svolgevano le Carnee e non poteva essere inviato tutto l’esercito (Hdt. VII 206); nel corso della guerra del Peloponneso gli Spartani interrompevano l’attività bellica durante la celebrazione delle Carnee, mentre gli Argivi cercarono, con un artificio nel computo dei giorni, di rimandare l’inizio del mese Carneo, mese sacro ai Dori secondo Tucidide, per poter concludere un’incursione nel territorio di Epidauro (Thuc. V 54; V 75; V 76,1). Da questi esempi si evince chiaramente come lo studio del culto di Apollo Carneo non possa essere considerato come un mero studio di erudizione sulle peculiarità della religione greca, ma investa invece gli aspetti fondamentali della società spartana (oltre che della colonia di Thera, della sub-colonia di Cirene e delle altre città interessate dal culto), al punto che numerosi studiosi si sono cimentati nell’interpretazione del significato delle Carnee. Adler, però, conclude la voce Karneios della Real Encyclopedie der Classischen Altertumswissenschaft in modo piuttosto sconsolato: “Jedenfalls liegt die Ausbreitungsgeschichte des Kultes nach dem Erscheinen des neuen Materials mehr im Dunkel als vorher”. In seguito sono stati pubblicati numerosi studi importanti ed illuminanti, ma il quadro complessivo della festa rimane ancora incerto e contraddittorio. Il presente progetto di ricerca, pertanto, intende sì offrire una raccolta completa delle testimonianze sul culto di Apollo Carneo, comprese le più recenti acquisizioni epigrafiche, numismatiche ed archeologiche, ma intende soprattutto trattare l’argomento da un punto di vista diverso. L’impostazione sottesa alla tesi, infatti, non prevede l’utilizzo indistinto di tutte le testimonianze, di qualsiasi periodo, per tracciare un quadro generale ed onnicomprensivo del culto, valido per tutte le epoche, bensì contempla un approccio diacronico che consenta di riconoscere gli influssi e i cambiamenti che di volta in volta il contesto politico, sociale e culturale ha imposto. Il tentativo, insomma, è di tracciare un quadro dell’evoluzione storica di questa festività, adottando, ove possibile, un criterio ‘stratigrafico’ nell’analisi dei testi sulle Carnee. Il primo capitolo comprende una rassegna delle numerose interpretazioni del culto: esse considerano Apollo Carneo un’originaria divinità della vendemmia oppure un dio-ariete, legato ad una festa di pastori; pongono un più marcato accento sui riti di purificazione ed espiazione e sul collegamento con la caccia e con la preparazione per la guerra o sottolineano la prevalenza del carattere iniziatico della festa. Per la maggior parte degli studiosi nella festa si può individuare uno strato più antico, che riguarda il culto della natura per pastori e contadini, e uno strato più recente, in cui prevale l’aspetto militare, introdotto dai Dori. Le posizioni emerse negli ultimi anni tendono a valorizzare maggiormente l’aspetto militare del culto, il legame con la migrazione e la conquista dorica. Nel secondo capitolo le tradizioni sulle origini delle Carnee sono catalogate secondo due criteri: quello cronologico e quello tematico. Nella prima parte sono analizzate in ordine cronologico tutte le fonti letterarie che si riferiscono al mito eziologico delle Carnee. La testimonianza più antica risale al VII secolo a.C., ad Alcmane, a cui lo scolio 83a all’Idillio V di Teocrito attribuisce un frammento in cui viene citato Karnos, mentre gli autori più tardi sono Nonno ed Esichio. Il dato più significativo è costituito proprio dall’ampio arco cronologico (si va dal VII secolo a.C. al V-VI d.C.) e dall’estrema varietà delle informazioni desumibili dalle fonti: in taluni casi risulta difficile combinare in un unico contesto festivo e cultuale tutti i dati a nostra disposizione. Si è deciso, perciò, di adottare nella prima parte del secondo capitolo un criterio ‘stratigrafico’, ovvero un approccio diacronico che consenta di riconoscere gli influssi del contesto politico, sociale e culturale sull’evoluzione storica di questa festività. Tale modo di accostarsi al problema delle fonti, inoltre, ben si accorda con l’immagine, ormai unanimemente accettata negli studi specialistici, di una Sparta che muta nel corso del tempo e non rimane sempre uguale a se stessa. La seconda parte del capitolo, invece, prende in considerazione le medesime fonti seguendo un criterio tematico, in modo da definire chiaramente i tre nuclei tematici intorno ai quali raggruppare le testimonianze. Il primo spiega l’origine del culto di Apollo Carneo richiamandosi all’ambito della spedizione di Troia (Alcmane, Demetrio di Scepsi, Pausania e lo scolio a Teocrito V 83 d); il secondo si rifà al cosiddetto ritorno degli Eraclidi (Teopompo, Conone, Pseudo-Apollodoro, Pausania, scoli a Teocrito V 83c-d e scoli a Callimaco, Inno ad Apollo 71); il terzo fa discendere Karnos da Zeus ed Europa (Prassilla, Pausania ed Esichio). Il terzo capitolo, sulle manifestazioni locali del culto, costituisce il nucleo centrale della tesi. Nella prima sezione vengono trattati gli aspetti del culto per i quali non si può individuare una provenienza locale ben definita: l’iconografia e la collocazione della festa nel calendario. Nel paragrafo sull’iconografia viene evidenziato il legame con il culto del Carneo di alcune erme laconiche che raffigurano un ariete e di una stele alla cui sommità è scolpito in bassorilievo un paio di corna di ariete. Allo stesso tempo, però, viene messa in dubbio la possibilità che il tipo monetale che ritrae una testa giovanile con corna e, talvolta, orecchie di ariete rappresenti Apollo Carneo. Tali monete provengono da numerosi centri della madrepatria e delle colonie greche, tra i quali – ciò che più conta ai fini dell’interpretazione – molte località non doriche (ad esempio Metaponto, Tenos, Aphytis, ecc.). Tra le altre identificazioni proposte dagli studiosi, la più plausibile sembra essere quella con Zeus Ammone. La parte più ponderosa del terzo capitolo riguarda l’analisi delle manifestazioni del culto a Sparta, Tera, Cirene e Cnido, da cui proviene una quantità di dati sufficiente ad analizzare con una certa sistematicità le testimonianze relative al Carneo. In ogni capitolo vengono esaminati l’eventuale localizzazione topografica dei santuari di Apollo Carneo, le attestazioni di agoni (musicali e/o atletici) all’interno delle Carnee, i riti connessi al culto, l’esistenza di sacerdozi del Carneo. Per molti aspetti la scarsità e la natura eterogenea della documentazione, sia tra una città e l’altra sia all’interno di una stessa città, rendono difficile proporre un’interpretazione complessiva del culto. L’esempio di Cirene è emblematico: le fonti letterarie attestano con certezza l’esistenza e l’importanza del culto di Apollo Carneo, soprattutto in relazione alla fondazione della città, mentre la documentazione archeologica, che pure è singolarmente abbondante per Cirene, non ci consente di localizzare gli eventuali santuari del dio all’interno della città. Il quarto capitolo raccoglie le altre testimonianze del culto che ne attestano la diffusione in ambito dorico. Le località per le quali possediamo una documentazione sufficientemente consistente sono Cos, Lindo e Camiro, Messene e Andania. In conclusione, se sembra difficile proporre un’interpretazione totalizzante, che colleghi tutti gli elementi del culto in un sistema “où tout se tient”, si possono, però, individuare alcuni caratteri comuni alle diverse manifestazioni del culto. Innanzitutto le associazioni del Carneo con determinate divinità (Era, Ilizia, Artemide, i Dioscuri) connesse all’educazione dei giovani e il rito della staphylodromia fanno intravedere un ruolo del dio nella formazione e nell’inserimento dei giovani tra i cittadini a pieno titolo, ma non, a mio parere, un inquadramento strutturale del culto nel sistema iniziatico spartano. In secondo luogo il culto e la festa avevano una forte caratterizzazione ‘politica’, in cui tutti gli elementi costitutivi dell’identità e dell’ideologia del gruppo – soprattutto, da un certo momento in poi, l’elemento dorico – erano enfatizzati.
XXII Ciclo
1971

Orientador: Trajano Augusto Ricca Vieira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A Quarta Pítica de Pindaro é um epinício de estrutura formal particular. A dissertação oferece seu texto e tradução, além de dedicar um comentário analítico a sua seção mítica. Como introdução, foram compilados excertos e fragmentos poéticos que antecipam a Quarta Pítica no ciclo argonáutico. Em seguida, o comentário à narrativa mítica do epinício propõe a distinção de dois grandes blocos, separados não só pelo aspecto temático, como a tradição observa, mas também pelo aspecto formal, revelado pela análise de suas estruturas constituintes e, pontualmente, pelo método comparativo. O trabalho demonstra, no primeiro bloco, o procedimento de composição anelar, e compara o segundo a uma gesta heroica. Por fim, sugere em análise uma nova interpretação da colometria deste epinício
Abstract: The Fourth Pythian Ode of Pindar is an epinicion of peculiar formal structure. The dissertation provides its text and a translation into Brazilian Portuguese, as well as an analytical commentary on the mythical section. The introduction is composed by a compilation of poetic excerpts and fragments prior to the Fourth Pythian in the argonautic cycle. Next, a commentary on the Pindar's mythic narrative proposes the distinction of the two major blocks, separated not only by thematic aspects, as evidenced by the tradition, but also by formal aspects, revealed by an analysis of their structures and, sporadically, by comparative method. This work demonstrates the procedure for ring-composition in the first block and compares the second to a heroic balladry. Finally, the dissertation suggests a new interpretation of this epinicions colometry
Mestrado
Linguistica
Mestre em Linguística

This written thesis supports the MFA exhibition, Circle. In both thesis and exhibition, I articulate that the act of speaking language creates connection for both the speaker and the listener to the history of knowledge and ideas within its specific community of origin. The spoken language is connected to the history of knowledge and ideas within its specific community of origin and has a structure which implies physicality; therefore, the spoken language exists beside other established created objects within indigenous practice. Through the documentation of unique situations of indigenous language speaking within contexts of cultural practice, this thesis articulates my process of speaking my indigenous Tahltan language as a performance of indigenous Tahltan meaning which, in turn, is part of the creation process of the indigenous Tahltan objects in Circle. Both thesis and exhibition together are an offering of a blanket, a river, stones, salmon, and the Tahltan land, as an embodied practice of articulating Tahltan epistemologies through the creation of objects connected to spoken Tahltan language.

Due to the mounting rate of patients suffering from PTSD starting at a young age, there have been many studies and guidelines to help improve the conditions of these patients. Though there are many hospitals focusing on treatment of patients suffering from mental diseases, none of these hospitals or clinics concentrate on the welfare of the children suffering from PTSD specifically. The business plan discussed here addresses this concern. It is a healing center “Golden Circle” providing care and treatment to young adults aged between 13–25 years suffering from PTSD especially after road traffic accidents located in Los Angeles County. Golden Circle business plan is proposed to help identify the market trends and areas of concern by studying the company analysis, market potential and demand, competitor analysis, customer analysis, marketing strategy, feasibility and SWOT analysis, legal and regulatory issues and finally the financial analysis. Golden Circle is anticipated to help the society as well as generate good profit.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
As questões que se buscou responder nessa dissertação surgiram da prática artística e da vida acadêmica do pesquisador, relacionando sua formação na área da Geografia com sua experiência no Circo Teatro Rosa dos Ventos para assim contribuir com a compreensão do processo de renovação da atividade circense no panorama nacional. Foi com base nessa articulação que se optou pela tomada de depoimentos, posteriormente transcritos e analisados, além das observações feitas durante visitas a circos tradicionais e grupos artísticos móveis, pretendendo-se, desse modo, valorizar a proximidade e familiaridade do pesquisador com o universo pesquisado. No que se refere aos objetivos específicos, este trabalho buscou contribuir para a compreensão da atividade circense através de dois conceitos centrais para a Geografia, os conceitos de território e de lugar. A distinção entre circos tradicionais nômades e grupos artísticos móveis justifica a importância de tais conceitos, uma vez que, além da constatação de que fazem usos diferentes da atividade circense, o emprego dos conceitos ajudou a demonstrar que ambos desenvolvem estratégias territoriais para se reproduzir no espaço, mas essas estratégias envolvem mobilidades distintas. Assim, os circos tradicionais nômades revelam a atualidade do nomadismo e a importância de se contrapor ao modo de vida sedentário, hegemônico no restante da sociedade, daí a importância do emprego do conceito de território para entender sua movimentação. Enquanto isso, os grupos artísticos móveis se ligam a uma produção de arte voltada ao mundo urbano contemporâneo, daí a opção por empregar o conceito de lugar para explicar o caráter mais fixo desses grupos. Ao identificar os lugares sociais fugazes criados e seus respectivos territórios de uso, esperamos ter demonstrado que a atividade circense participa de uma renovação artística.
The questions this dissertation aimed to answer came from the artistic practice and academic life of the researcher, relating his Geographic formation with his experience on Circo Teatro Rosa dos Ventos (Compass Rose Theatre Circus) to contribute with the comprehension of the renewal project of the circus national panorama. Based on this articulation it was opted to take declarations thereafter transcribed and analysed, in addition to the observations made during visits to traditional circuses and mobile artistic groups, aiming to value the fondness of the researcher to the researched universe. Concerning specific goals, this work aimed to contribute to the understanding of the circus activity through the two central concepts to Geography, territory and place. The distinction between traditional nomad circuses and mobile artistic groups justifies the importance of such concepts, because both make different uses of the circus activity, and because the use of the concepts helped demonstrating that both develop territorial strategies to reproduce themselves in space, but these strategies include distinct kinds of mobility. Traditional nomad circuses reveal the modernity of nomadness and the importance of counter-proposing the sedentary way of life, hegemonic in the other parts of society, because of this the importance of the use of the concept of territory to understand this movement. Then, mobile artistic groups connect themselves to a production of art destined to the contemporary urban world, because of this the use of the concept of place to explain the fix character of these groups. By identifying the rapid social place created and their respective territories of use, the work aims to demonstrate that the circus activity takes part of an artistic renewal.

Orientador: Eda Maria Góes
Banca: Raul Borges Guimarães
Banca: Mário Fernando Bolognesi
Resumo: As questões que se buscou responder nessa dissertação surgiram da prática artística e da vida acadêmica do pesquisador, relacionando sua formação na área da Geografia com sua experiência no Circo Teatro Rosa dos Ventos para assim contribuir com a compreensão do processo de renovação da atividade circense no panorama nacional. Foi com base nessa articulação que se optou pela tomada de depoimentos, posteriormente transcritos e analisados, além das observações feitas durante visitas a circos tradicionais e grupos artísticos móveis, pretendendo-se, desse modo, valorizar a proximidade e familiaridade do pesquisador com o universo pesquisado. No que se refere aos objetivos específicos, este trabalho buscou contribuir para a compreensão da atividade circense através de dois conceitos centrais para a Geografia, os conceitos de território e de lugar. A distinção entre circos tradicionais nômades e grupos artísticos móveis justifica a importância de tais conceitos, uma vez que, além da constatação de que fazem usos diferentes da atividade circense, o emprego dos conceitos ajudou a demonstrar que ambos desenvolvem estratégias territoriais para se reproduzir no espaço, mas essas estratégias envolvem mobilidades distintas. Assim, os circos tradicionais nômades revelam a atualidade do nomadismo e a importância de se contrapor ao modo de vida sedentário, hegemônico no restante da sociedade, daí a importância do emprego do conceito de território para entender sua movimentação. Enquanto isso, os grupos artísticos móveis se ligam a uma produção de arte voltada ao mundo urbano contemporâneo, daí a opção por empregar o conceito de lugar para explicar o caráter mais fixo desses grupos. Ao identificar os lugares sociais fugazes criados e seus respectivos territórios de uso, esperamos ter demonstrado que a atividade circense participa de uma renovação artística.
Abstract: The questions this dissertation aimed to answer came from the artistic practice and academic life of the researcher, relating his Geographic formation with his experience on Circo Teatro Rosa dos Ventos (Compass Rose Theatre Circus) to contribute with the comprehension of the renewal project of the circus national panorama. Based on this articulation it was opted to take declarations thereafter transcribed and analysed, in addition to the observations made during visits to traditional circuses and mobile artistic groups, aiming to value the fondness of the researcher to the researched universe. Concerning specific goals, this work aimed to contribute to the understanding of the circus activity through the two central concepts to Geography, territory and place. The distinction between traditional nomad circuses and mobile artistic groups justifies the importance of such concepts, because both make different uses of the circus activity, and because the use of the concepts helped demonstrating that both develop territorial strategies to reproduce themselves in space, but these strategies include distinct kinds of mobility. Traditional nomad circuses reveal the modernity of nomadness and the importance of counter-proposing the sedentary way of life, hegemonic in the other parts of society, because of this the importance of the use of the concept of territory to understand this movement. Then, mobile artistic groups connect themselves to a production of art destined to the contemporary urban world, because of this the use of the concept of place to explain the fix character of these groups. By identifying the rapid social place created and their respective territories of use, the work aims to demonstrate that the circus activity takes part of an artistic renewal.
Mestre

Artist Statement From my earliest memories pattern and repetition of the details in my surroundings were things that caught my attention. The patterns found in the living room wallpaper, the fabric of my mom’s dress, the texture in the buttons found in the sewing box were all fascinating to me. Figuring out the rules of the pattern and being able to predict what came next satisfied my need for order. More recently, I have found myself breaking the rules of predictability by disrupting pattern and combining unexpected materials. With a focus on textiles, I am inspired by and drawn to processes that can be used to simulate the lines, pattern, repetition, and unexpected variety that is found in nature and architecture. There is whimsy in the multiple threads that make up the sights around us expressed in color and stitched line. I cycle through a process of identifying textures and patterns that attract me, then finding new ways to translate them in my art.

This reflexive documentary film explores the Alabama-Coushatta Indian Tribe of Texas and examines questions of cultural identity. The twenty-one minute film uses footage of cultural events, reservation landscape, photographs, and interviews to bring the viewer into the lives of the Alabama-Coushatta people. The written portion of this thesis details the entire processes of making the film, from the proposal stage to the post-production stage. This includes an examination of the film's evolution from using a proposed ethnographic approach to one less scientific and more personal.

The text and accompanying video tape describe the "talking circle" ritual as it is being used spiritually by a Native American group in Southern Arizona. The text analyzes the evolution of the ritual and applies widely accepted models of group therapy to its uses in the following capacities: Spiritually, (and in) Substance Abuse, Education and the Psychological Treatment of Troubled Teen-agers. The video tape features interviews with local practitioners and is narrated by a traditional Chippewa Indian.

Il teorema di Koebe-Andreev-Thurston concerne l'esistenza di impacchettamenti di cerchi con un dato grafo di contatto. In questo lavoro presentiamo una dimostrazione elementare di tale teorema, insieme a qualche esempio di applicazione. Descriveremo, nel terzo capitolo, la congettura di Thurston sull'approssimazione di mappe conformi tamite impacchettamenti di cerchi e daremo una dimostrazione del teorema del separatore planare basata sul teorema di Koebe-Andreev-Thurston.

Many Aboriginal communities and urban Aboriginal people in the field of social services are utilizing Healing Circles. Talking Circles or Sharing Circles as a way of providing group support for people who are dealing with issues such as addictions, violence, grief, and trauma. The Native Council of Canada's 1993 report affirms that "traditional Healing Circles are being used with increasing frequency in urban Aboriginal communities" (p. 1).

Spherical circle planes are topological incidence geometries; one has a 2- sphere P and a collection of 1-spheres in P such that any three points in P determine exactly one of these 1-spheres (the ‘circles’ of the spherical circle plane). A determination of the homeomorphism type of the circle space (the collection of 1-spheres suitably topologised) of a topological 2-dimensional Möbius plane, which is a spherical circle plane with the additional property of the axiom of touching, was given by Karl Strambach in 1974. Embeddable spherical circle planes are a type of spherical circle plane that are not, in general, Möbius planes, constructed on a 2-sphere P in ℝ3 by taking the circles to be precisely the non-trivial plane intersections in ℝ3 with P. We show that the circle space of an embeddable spherical circle plane is homeomorphic to the 3-dimensional projective space minus one point. Furthermore, it is shown that the flag space of an embeddable spherical circle plane is homeomorphic to the flag space of the classical flat Möbius plane; a topological description of the latter is also given. An apparent gap is the literature is also filled: we prove the well-known conjecture that the flag space of a general spherical circle plane is a 4-dimensional manifold. Finally, we define the notion of isotopy equivalence between spherical circle planes and prove that embeddable spherical circle planes are isotopy equivalent to the classical flat Möbius plane.

viii, 109 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Chapter I. Prologue -- Chapter II. The Gerhardts -- Chapter III. Frank and Evelyn
Chair of the Examining Committee: David Bradley

Le cirque est un art qui a pour propriété d'être continuellement en transformation, en même temps qu'il reste la figure de l'éternel recommencement. L'émergence de nouvelle forme esthétique dans la piste, depuis les années soixante, traduit parfaitement cette flexibilité stylistique d'une production artistique très disciplinée. Une histoire sociale du cirque permet donc d'appréhender, à partir d'une problématique historique de l'évolution de cet art populaire ainsi qu'à travers une étude comparative des formes de sa représentation, les différentes dispositions et variations du spectacle selon les stratégies sociales et économiques engagées. Dans toutes ces configurations, le cirque exhorte les artistes à la réalisation de prouesses dans l'exacerbation du dépassement physique et du corps à corps avec le risque. Le cirque est construit autour de l'exhibition du danger, qu'il centralise et canalise sur la piste dans une cérémonie sacrificielle, où le hasard est dompté et refoulé aux limites de l'incertitude. Les arts du cirque sont le catalyseur d'une mise en piste de postures et de disciplines aussi riches en équilibre qu'en déséquilibre. Spectacle d'une " métaphysique du silence ", le cirque célèbre l'animalité première des fauves aussi bien que le vol suspendu des trapézistes, dans une architecture hautement symbolique : le cercle
The circus is an art in constant transformation. It is the symbol of new beginnings. The emergence of a new art form, les arts de la piste, since the 1960s, illustrates perfectly the stylistic flexibility of a highly disciplined form of artistic expression. This paper presents a sociological history of the circus, including the historical evolution of this popular art form and a comparative study of the different forms of representation, to provide an understanding of the different types and variations of circus performances according to the social and economic strategies involved. In all of its forms, the circus pushes the artist to perform exploits, challenging physical limits and flirting with danger. The circus is built around the exhibition of risk taking and danger, a sentiment that is concentrated and channeled into the circus ring in a sacrificial ceremony that dominates danger and pushes back the limits of uncertainty. Circus arts are the catalyst behind the staging of disciplines that are as rich in their sense of equilibrium as imbalance. A spectacle that hinges on the metaphysics of silence, the circus celebrates the primal animalism of wild beasts as well as the suspended flight of trapeze artists, all within the highly symbolic architecture of the circus ring : the circle

O presente estudo busca apontar os principais preceitos da principal metodologia desenvolvida por Moacy Cirne para o estudo das histórias em quadrinhos, a Semiologia Materialista. Para tal, observamos o contexto acadêmico em que suas obras se inserem, de modo a apontar suas principais influências e explorar seus conceitos mais relevantes.
The present research intends to point out the main precepts of Moacy Cirne\'s most important methodology developed for the study of comics, the Materialist Semiology. To this end, we observe the academic context in which his works are inserted, in order to point out his main influences and to explore his most relevant concepts.

Depuis les années 1980, l'apprentissage de la profession d'artiste de cirque, à l'instar d'autres professions artistiques, se déroule dans des écoles professionnelles hiérarchisées par l'Etat, et n'est plus réservé au seul cercle familial du " cirque traditionnel ". L'intégration du cirque au Ministère de la Culture dès 1979 et la mise en œuvre de politiques culturelles en sa faveur, ont en effet engendré un processus d'institutionnalisation et de scolarisation de la formation, mais aussi de légitimation sociale et artistique du " cirque contemporain ". Dans ce contexte, ce travail de thèse se propose d'étudier la socialisation professionnelle des apprentis artistes de cirque dans six écoles françaises, au statut varié, et selon une démarche alliant différentes échelles d'analyse et méthodologies. A partir de recherches documentaires, d'entretiens auprès d'une quarantaine d'acteurs et d'observations réalisées au sein de chaque école, l'objet de ce travail est de comprendre et relier les processus qui participent d'une part, à la dynamique et à la structuration d'un espace concurrentiel de formation et, d'autre part, à la socialisation professionnelle des apprentis artistes dans des écoles prises dans une configuration particulière et dans les tensions historiques qui ont marqué la constitution du cirque en sous-champ artistique
Since the 80s, in line with other artistic professions, training in circus artistry belongs to professional schools labeled by the State and no longer to the family circle of "traditional circus". Not only did the integration of circus within the Culture Ministry since 1979 and the application of policies geared to its development start the institutionalization and the "scholarizing" of the formation, but also the social legitimization of "contemporary circus". The present doctoral work studies the professional socialization of apprentices in circus artistry in French schools of various statuses, using several methods and analytical tools. Based on documentary research, interviews of about forty actors and observations in each school, the goal of thesis is to understand the interacting processes that contribute to the emergence of a structured and competing network of formation and to the professional socialization of circus artists in the schools. These processes are investigated in their particular contextual configuration and in the midst of the historical tensions that arose during the establishment of circus as a proper artistic subfield

This thesis examines the presence of community in Blackfoot Justice Circles through ethnographic, qualitative methods. Five Blackfoot Justice Circles, observed in 1996-1997, and an Innu Healing Justice Circle, are compared in structure, roles and content. The Innu circle data is found as a report and recorded as an appendix to R. v. Sellon (1996). Seven in depth interview held with circle leaders and prominant circle participants generated data used to describe and define current perceptions of traditional concepts among circle leaders on a Blackfoot reserve. Theoretically the work arrives at a principle of justice according to a concept of authentic morality expressed through problem-solving and care. The principle is collectively based on the ideas and works of Menno Boldt, Herman Bianchi, Elliot Studt, John McKnight, Carol Lepannen Montgomery, John Braithwaite, Howard Zehr, and Ruth Morris as well as peacemaking concepts. The study explores transformative justice, as differentiated from restorative and retributive justice.
xii, 258 leaves : ill. ; 29 cm.

The thesis presents the hypothesis that the systematic theology of Paul Tillich (1886-1965) offers significant new benefits towards church unity. The methodology used in pursuit of this aim, is a critical analysis of Tillich's early and late thought. Tillich' s work was influenced by the German philosophical and theological schools and came to expression in American academia in his publication Systematic Theology. The results of this analysis reveal Tillich's consistent commitment to the concept of Gestalt. This finding has been broadened to include the concept that the strength of ecclesial unity is dependent upon the understanding that every ecclesial denomination is an effective element in the constituency of the whole Church. This argument is supported by a deconstruction of Tillich' s system that is keyed into the hermeneutical theories of Gadamer and Derrida. The system is then reconstructed in terms of a new Gestalt that turns on the hypothesis that there is a relationship of synthesis between philosophy and theology within the Tillichian system, rather than the complementary relationship that Tillich claims. This conclusion is based upon the system being perceived as being founded upon the Western classical philosophical and theological traditions. A critique of Tillich's incorporation of modern existential hermeneutics into this system is made principally in relation to the existentialist thought of Kierkegaard, Heidegger and Sartre. A hermeneutic of Tillich' s existential critique serves to highlight the questions that result from existential disruption rather than to label him as an existentialist per se. The system is thus moved forward into the post-modern context under new hermeneutics. An analysis of Tillich's ecclesiology reveals that this is both eschatological and Trinitarian in nature. The relationship between Tillich's system and ecclesiology is brought into dialogue by means of their being expressed in terms of an ecclesiological circle. These hermeneutics are compared and contrasted with the ecclesiologies of Zizioulas and Haight and the published ecumenical documents of The World Council of Churches in order to reveal their commonalties. When the system has thus been applied to the current ecumenical dialogue, then it becomes apparent that the raison d'etre of Tillich's system is the Church and the raison d'etre of the Church is the system. The squaring of Paul Tillich's ecclesiological circle is thus made complete.

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Este trabalho dedica-se a analisar os métodos de formação para palhaços, principalmente àqueles que se apoiam na matriz circense. Por meio de material coletado em entrevistas realizadas com professores de palhaços e clowns, foi possível observar os principais elementos que compõem esta formação. As carreiras de dois palhaços circenses: Roger Avanzi e Arlindo Pimenta, servem como guia para observarmos como a educação difusa e a tradição oral repassam seus saberes com tanta eficácia. As didáticas de alguns professores de clowns da matriz francesa e minhas experiências pedagógicas como oficineiro em cursos com programas e durações di versas, são utilizadas de forma transversal na observação de procedimentos e resultados obtidos. São expostas informações sobre algumas sistematizações que se repetem por meio da tradição oral e que se apoiam na ambiência e cotidiano dos circos de famílias itinerantes, nos quais Avanzi e Pimenta estruturaram suas carreiras. O conceito dom da palavra torna-se a referência para o caminho que trilham para formação de um bom palhaço de picadeiro, além da absorção de técnicas diversas: acrobacia, música, mímica, maquiagem, voz e caracterização. A teatralidade também surge com seus elementos essenciais (dramaturgia, ação dramática, triangulação, efeito) para estruturação de entradas, reprises e esquetes que se tornam literatura oral e, ao mesmo tempo, instrumen to pedagógico para formação do palhaço circense.
This work is dedicated to analyze the training methods for clowns, especially those who rely on circus matrix. Using material collected in interviews with teachers clowns and clowns, we observed the main elements that make up this training. The careers of two circus clowns: Roger Avanzi and Arlindo Pimenta, serve as a guide to observe how the diffuse education and oral tradition pass o n their knowledge so effectively. The teaching of some clowns teachers of French headquarters and my teaching experience in courses with programs and differents durations, are used across the board in observation procedures and results obtained. They are exposed information about some systematization that repeat through the oral tradition and rely on ambience and everyday circuses of itinerant families in which Avanzi and pepper structured their careers. The concept gift of gab becomes the reference to the way that tread to form a good circus clown, in addition to absorbing several techniques: acrobatics, music, mime, makeup, voice and characterization. Theatricality also comes with its essential elements (dramaturgy, dramatic action, triangulation, effect) for structuring reruns and skits that make oral literature and at the same time, pedagogical tool for training circus clown.

Orientador: Mario Fernando Bolognesi
Banca: André Carrico
Banca: Daniel Marques da Silva
Resumo: Este trabalho dedica-se a analisar os métodos de formação para palhaços, principalmente àqueles que se apoiam na matriz circense. Por meio de material coletado em entrevistas realizadas com professores de palhaços e clowns, foi possível observar os principais elementos que compõem esta formação. As carreiras de dois palhaços circenses: Roger Avanzi e Arlindo Pimenta, servem como guia para observarmos como a educação difusa e a tradição oral repassam seus saberes com tanta eficácia. As didáticas de alguns professores de clowns da matriz francesa e minhas experiências pedagógicas como oficineiro em cursos com programas e durações di versas, são utilizadas de forma transversal na observação de procedimentos e resultados obtidos. São expostas informações sobre algumas sistematizações que se repetem por meio da tradição oral e que se apoiam na ambiência e cotidiano dos circos de famílias itinerantes, nos quais Avanzi e Pimenta estruturaram suas carreiras. O conceito "dom da palavra" torna-se a referência para o caminho que trilham para formação de um bom palhaço de picadeiro, além da absorção de técnicas diversas: acrobacia, música, mímica, maquiagem, voz e caracterização. A teatralidade também surge com seus elementos essenciais (dramaturgia, ação dramática, triangulação, efeito) para estruturação de entradas, reprises e esquetes que se tornam literatura oral e, ao mesmo tempo, instrumen to pedagógico para formação do palhaço circense.
Abstract: This work is dedicated to analyze the training methods for clowns, especially those who rely on circus matrix. Using material collected in interviews with teachers clowns and clowns, we observed the main elements that make up this training. The careers of two circus clowns: Roger Avanzi and Arlindo Pimenta, serve as a guide to observe how the diffuse education and oral tradition pass o n their knowledge so effectively. The teaching of some clowns teachers of French headquarters and my teaching experience in courses with programs and differents durations, are used across the board in observation procedures and results obtained. They are exposed information about some systematization that repeat through the oral tradition and rely on ambience and everyday circuses of itinerant families in which Avanzi and pepper structured their careers. The concept "gift of gab" becomes the reference to the way that tread to form a good circus clown, in addition to absorbing several techniques: acrobatics, music, mime, makeup, voice and characterization. Theatricality also comes with its essential elements (dramaturgy, dramatic action, triangulation, effect) for structuring reruns and skits that make oral literature and at the same time, pedagogical tool for training circus clown.
Mestre

MOTIVATION In Richmond, there are 1.21 times as many African Americans as any other ethnic group. Yet 63.4% of African Americans live in poverty (Richmond, VA). African Americans face greater exposure to stress due to low socioeconomic status and poverty. In these communities, “discrimination and deprivation undermine individuals’ ability to accumulate the social and material resources to mitigate the effects of stress” (Brondolo, 2018). In this city’s African American community, where stress levels are high and consequential health concerns are prevalent, dance can be a remedy for managing stress and improving health (Hanna, 2006). DESIGN PROBLEM How can an intentionally designed interior environment support dance as a remedy for stress and its negative health effects? How can the design of this environment celebrate the culture of the African American community? METHODS Literature reviews on the relationship between space and dance will help inform design decisions. Studies of programmatic precedents will focus on spaces involving dance, healing, community engagement and cultural specificity. Studies of conceptual precedents that involve movement, rhythm and the body will take place. Rudolf Laban’s notation system for studying movement in dance will be utilized to analyze the movements required of African dance, resulting in a more targeted design approach. A dancer with a background in African dance will serve as a research advisor. Interviews of African American dancers will be conducted to gain insight into the practice of dance and the needs of a dance space. PRELIMINARY RESULTS Research shows that dance reduces stress levels. Specifically, African dance, significantly decreases perceived stress and repeated practice can lead to overall stress reduction (West, J. et al). African dance’s main purpose is to serve as an expression of the physical and psychological states of individuals, allowing for emotional release.(Welsh-Asante, 1996). Dance can be used to cope with stress by discharging repressed aggression, improving self-esteem and allowing for self expression . Dance also prevents stress through physical exercise (Hanna, 2006). Additionally, research from Steven Holl, Santiago Calatrava and other architectural masters discuss the relationships between dance and architecture. CONCLUSION The research will inform the design of a cultural dance center for the city’s historically African American neighborhood. The interior design of this center will support African dance and culture, foster creativity, and encourage stress reduction. The design will also support the secondary programs of dance movement therapy, seminars, celebrations, community outreach, educational programs, and exhibitions.

Thèse pour le diplôme d'archiviste paléographe--Paris--Ecole nationale des chartes, 2006.
Les tomes 1 et 3 ont pour sous-titre : "Le grand spectacle, histoire d'un goût" ; le tome 2, "Le grand spectacle, histoire d'un goût spectaculaire" Bibliogr., t. 1, p. 37-52, sources diverses p. 28-36, t. 2, p. 133-134.

Magnetic nanoparticles have great potential in the biomedical and diagnostics field. Due to their small size, the particles have a high surface-to-volume ratio which enables for biofunctionalisation with different molecular probes. This makes itpossible to target them against a wide variety of biomarkers. In this project, the aim was to develop a magnetic nanoparticle-based DNA detection method with respectto sensitivity by employing circle-to-circle amplification, which is an extension of rolling circle amplification, in order to increase the assay sensitivity. The method provides high specificity due to the use of padlock probes for amplification. The project included testing and optimising the protocol used for DNA amplification and detection with a synthetic target, which involved testing different padlock probes, incubation times and incubation temperatures. Lastly, the method was tested on a biological target. It has recently been shown that specific aggregation occurs between magnetic nanoparticles and DNA, which enables for a visual readout strategy sincethe aggregates are visible to the naked eye. Initial testing of the method yielded asensitivity of about 100 attomoles. The achieved sensitivity after the optimisation work was 1 attomole of both synthetic and biological DNA targets. This is an improvement compared to the 400 attomoles that has previously been reported with one round of rolling circle amplification. The results can be used in further development of the naked-eye DNA detection method towards the realisation of a commercially attractive bioanalytical device.

In this thesis we investigate a new and highly geometric approach to studying finite subset spaces of the circle. By considering the circle as the boundary of the hyperbolic plane, we are able to use the full force of hyperbolic geometry—in particular, its well-understood group of isometries—to determine explicitely the structure of the first few configuration spaces of the circle S¹. Once these are understood we then move onto studying their union—that is, exp₃(S¹,)—and in particular, we re-prove both an old theorem of Bott and a newer (unpublished) result of E . Щепин (E. Shchepin) about this space.
Science, Faculty of
Mathematics, Department of
Graduate

Quality circles are a form of group activity designed to impact on attitudes to work and to improve company performance. This study notes the introduction and rise in importance of this phenomenon in UK industry and sets out to examine the concept in operation. The quality circle is defined and explored and its aims and objectives are examined. The literature on quality circles is reviewed and is found to comprise mainly anecdotal articles written for management journals, although the amount of rigorous research is growing. Its place in wider management theory is then considered, focussing on a number of key areas which the quality circle can be said to span. The second part of the thesis describes the case study of quality circles in action at an electronics firm, which was the backbone of the three year research programme. A number of hypotheses were developed and they are discussed in turn. A research methodology was subsequently devised to throw light on the most significant of these hypotheses, using three main techniques - attitude survey, interview and group process observation. The resultant data is described and presented in tables to be found in the appendices. Conclusions are drawn about the quality circle programme under scrutiny. It was not thought prudent to generalise too far, but a number of less specific conclusions are expressed, together with suggestions for further work in the field which would generate useful results.

This thesis will focus on the transitional influences that have led me to start the second circle of my professional life. It is an open and honest exploration of the back-story of my life and the academic and professional influences that led me to seek a Master of Fine Arts Degree at Virginia Commonwealth University. With no parallels and therefore no excuses insinuated, I will be open and dissect more of myself as the whole focus of the thesis in hopes of offering clarity to myself and other mature and disabled students seeking to become a better teacher and artist.

Dans les champs de la médiation artistique, la psychanalyse s'est peu intéressée au cirque comme médium thérapeutique. Le travail proposé ici en tente une articulation. La thèse avancée montre que la pratique du cirque peut être vecteur de remaniements psychiques, dans un dispositif sensible aux enjeux transférentiels.À partir des particularités du cirque, j'avance quelques spécificités psychiques pouvant se jouer dans cet espace, thérapeutique de surcroît.Le cirque apparait comme un espace subversif, hétérotopique (Foucault), où les équilibres sont rendus instables. Ce déséquilibre, inhérent au cirque, pourrait aussi concerner les instances psychiques : j'en viens ainsi à proposer la piste comme un surmoi d'emprunt. Un surmoi clément, comme celui décrit par Freud dans L'humour (1927), autorisant à expérimenter le monde comme un jeu d'enfant. Un surmoi réconciliateur avec le moi, permettant quelques mobilités, dans cet espace sensoriel. Car la piste, dans son étymologie, est le lieu de la trace. Surface marquée, elle permet l'empreinte, en s'approchant du sensoriel comme première matrice, par le corps éprouvé. Elle réactualise quelques échos originaires, que je propose de décrire, du côté du sentir, du regard, et de la contenance rendue possible.Le cirque est aussi l'espace du Réel, réanimé par la vivance de la part animale. En ce sens, il permet un espace de silence nécessaire à l'articulation du langage. Il est pré-texte, pré-verbal indispensable, et fait résonner un peu d'inquiétante-familiarité. La piste de cirque apparait alors comme un espace où l'imprévisible peut émerger, où une sortie de la stase est possible, pour qu'une dynamique subjective prenne forme
In the fields of artistic mediation, psychoanalysis has very rarely focused on the circus as a therapeutic medium. The hereby approach attempts to articulate this connection. The proposed thesis shows that the practice of circus arts can be a conveyor of psychological reorganizations, within a sensitive transferential framework.From the perspective of the distinctive features of circus arts, I bring forward psychological specificities that play a role in this therapeutic space.The circus appears as a subversive heterotopic space (Foucault), where balances are rendered unstable. This imbalance, which is inherent to circus arts, could also be a concern for psychological authorities. The circus ring could be considered as a borrowed superego. A clement superego, similar to the one described by Freud in Humour (1927), allowing to experience the world as a child's play. A superego that reconciles with the self, allowing movement in the sensory space. Etymologically, the ring is the place of trace, a marked surface, that aliows the notion of footprint, by approaching the sensory dimension as the initial matrix, through the experienced body. Thus, it generates the update of several native echoes that I describe from the perspective of feeling, sight and composure.The circus is also a real space, reanimated by the experience of animal nature. In this respect, it allows a space of silence, necessary to the articulation of language. It is an unavoidable pretext and pre-verb that resonates a somewhat worrying familiarity. The circus ring thus appears, where the unpredictable can emerge, and where an exit from the stasis is possible, so that a subjective dynamism takes shape

Il existe un modèle de la prise de risque et de ses conséquences au cirque : la chute mortelle du funambule, le dompteur dévoré par ses fauves. Mais cette modélisation suffit-elle à rendre compte des arts du cirque, ou de la réalité et de l'ensemble des risques pris par les artistes? En se fondant sur l'histoire, l'étude du terrain, l'expérience du métier et la confrontation quotidienne à la pratique, ce travail restitue l'histoire récente des arts du cirque en France et ses sources archaïques, et propose, en suivant la piste du risque, une nouvelle approche du cirque. La notion de prise de risque est élargie à celles d'instabilité et de déséquilibre, et rapprochée de l'impermanence des formes artistiques et économiques, du processus de composition, des risques physiques et sociaux induits par la pratique. Ces modalités d'expression et d'existence où l'artiste s'expose en permanence au déséquilibre, fonde l'hypothèse d'une esthétique du risque au cirque
There is a model pattern for risks taken in circus, and their conséquences : the fatal fall of the tightrope walker, liontamer devoured by his felines. But does this model sufficiently consider the arts of the circus, or the reality of all the risks taken by the artistes ? Drawing upon the history, studies on the ground, professional experience and daily confrontation with the practice, this work recreates the recent history of the circus arts in France and it's archaic sources, and proposes, following the risk factor, a new approach to the circus. The risk taking notion of instability and loss of balance is expanded upon, and considers the fluctuations of the artistic forms and economics, of the formation process, and of the physical and social risks that result from this practice. These types of expression and existence where the artist is permenantly exposed to loss of balance, are the basis for the hypothesis of the aesthétic of circus risks