The document provides an in-depth analysis of the locked room metaphor in Paul Auster's novel The Locked Room. It summarizes that for the main character Fanshawe, the locked room represents a psychological escape and way to assert control over his own life narrative by refusing societal expectations. For the narrator, the locked room signifies the secrets and lies that undermine his identity and psychological well-being. Through struggles with isolation, identity crises, and codependency on Fanshawe, both characters engage in a quest for selfhood throughout the novel, represented by their differing uses of the locked room metaphor.
Response 1 to the english patient by buffy hamiltonBuffy Hamilton
This document is Buffy Hamilton's response to reading The English Patient for her ELAN 8420 class. She reflects on how her purpose for reading, as an assigned text for class, affected her experience. She also discusses her expectations going into the novel based on reviews and descriptions of it being "multi-layered" and "poetic." Hamilton analyzes several poetic quotes she enjoyed from the novel and ponders themes of isolation, different cultures intersecting during WWII, and the characters being "displaced persons." She concludes by sharing a found poem she created from quotes and expresses interest in discussing the novel further with her classmates.
This document outlines the agenda and terms for an EWRT 30 class. The agenda includes reviewing point of view and plot, discussing fiction, and a lecture on character and setting. The document then defines terms related to characters, such as protagonist, antagonist, flat and round characters. It also defines terms like motivation, plot, and chronological order.
Misreadings of Arthur Schopenhauer in Sin rumbo by Eugenio Cambaceres - Pedro...Pedro Lasarte
This document provides a summary and analysis of the 1885 Argentine novel Sin rumbo by Eugenio Cambaceres. It discusses how the novel has been interpreted as an example of Spanish American Naturalism due to its influences from Emile Zola. However, the document argues that the novel also engages heavily with ideas from the 19th century German philosopher Arthur Schopenhauer, whose work was a favorite of the protagonist. Through its use of multiple narrators and perspectives, the document suggests the novel subtly plays with readers' understanding of Schopenhauer's philosophy and does not present a single clear ideology.
This document contains the agenda and notes for an English class. It discusses new groups for a class project, elements of fiction like plot, point of view, and tone. It provides examples and definitions of different types of plot structures and points of view, including omniscient, third-person limited, and first-person. Students are then instructed to devise a new plot of The Three Little Pigs story from a chosen point of view, such as a murder mystery with the wolf as a hitman.
The document summarizes Edgar Allan Poe's short story "The Tell-Tale Heart" through analyzing quotes and perspectives from various sources. It discusses how the story uses suspense, guilt, and the descent into madness to deal with insanity. While the narrator claims to be sane, his obsession with the old man's eye and heartbeat reveal his madness. Ultimately, the narrator's guilt over the murder overwhelms him and causes him to confess.
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner Erwin Manzon
The document provides biographical information about two famous authors, Edgar Allan Poe and William Faulkner. It discusses Poe's background, notable works like "The Tell-Tale Heart" and "The Cask of Amontillado," and his reputation as a pioneering writer of horror and mystery genres. For Faulkner, it mentions he was a Nobel Prize-winning American novelist known for his works set in the American South, especially the fictional Yoknapatawpha County. Quotes and summaries of some of Poe's short stories are also provided.
This document provides context about the Iranian poet Forough Farrokhzad and analyzes some of her poems. It discusses her upbringing and early life experiences that influenced her poetry. Two of her poems, "The Captive" and "To My Sister," are analyzed in detail, examining themes of freedom and oppression of women in Iranian society at that time. A third poem "The Sin" is also discussed, which boldly addressed female sexuality and intimacy in a way that was controversial. Farrokhzad's poetry broke barriers as one of the first prominent female poets in Iran to bring such themes to the forefront.
The document provides examples of quotes from Mary Shelley's Frankenstein and analyses of them, focusing on identifying who said the quote, the context, narrative techniques used, and connections to themes. It also discusses major themes in Frankenstein like knowledge, women, the sublime, family, education, science, and provides context on Mary Shelley's life and influences. The document serves as a reference for discussing, analyzing, and understanding important elements and quotes within Frankenstein through short analyses.
Response 1 to the english patient by buffy hamiltonBuffy Hamilton
This document is Buffy Hamilton's response to reading The English Patient for her ELAN 8420 class. She reflects on how her purpose for reading, as an assigned text for class, affected her experience. She also discusses her expectations going into the novel based on reviews and descriptions of it being "multi-layered" and "poetic." Hamilton analyzes several poetic quotes she enjoyed from the novel and ponders themes of isolation, different cultures intersecting during WWII, and the characters being "displaced persons." She concludes by sharing a found poem she created from quotes and expresses interest in discussing the novel further with her classmates.
This document outlines the agenda and terms for an EWRT 30 class. The agenda includes reviewing point of view and plot, discussing fiction, and a lecture on character and setting. The document then defines terms related to characters, such as protagonist, antagonist, flat and round characters. It also defines terms like motivation, plot, and chronological order.
Misreadings of Arthur Schopenhauer in Sin rumbo by Eugenio Cambaceres - Pedro...Pedro Lasarte
This document provides a summary and analysis of the 1885 Argentine novel Sin rumbo by Eugenio Cambaceres. It discusses how the novel has been interpreted as an example of Spanish American Naturalism due to its influences from Emile Zola. However, the document argues that the novel also engages heavily with ideas from the 19th century German philosopher Arthur Schopenhauer, whose work was a favorite of the protagonist. Through its use of multiple narrators and perspectives, the document suggests the novel subtly plays with readers' understanding of Schopenhauer's philosophy and does not present a single clear ideology.
This document contains the agenda and notes for an English class. It discusses new groups for a class project, elements of fiction like plot, point of view, and tone. It provides examples and definitions of different types of plot structures and points of view, including omniscient, third-person limited, and first-person. Students are then instructed to devise a new plot of The Three Little Pigs story from a chosen point of view, such as a murder mystery with the wolf as a hitman.
The document summarizes Edgar Allan Poe's short story "The Tell-Tale Heart" through analyzing quotes and perspectives from various sources. It discusses how the story uses suspense, guilt, and the descent into madness to deal with insanity. While the narrator claims to be sane, his obsession with the old man's eye and heartbeat reveal his madness. Ultimately, the narrator's guilt over the murder overwhelms him and causes him to confess.
Great Literary Pieces featuring Edgar Allan Poe and William Faulkner Erwin Manzon
The document provides biographical information about two famous authors, Edgar Allan Poe and William Faulkner. It discusses Poe's background, notable works like "The Tell-Tale Heart" and "The Cask of Amontillado," and his reputation as a pioneering writer of horror and mystery genres. For Faulkner, it mentions he was a Nobel Prize-winning American novelist known for his works set in the American South, especially the fictional Yoknapatawpha County. Quotes and summaries of some of Poe's short stories are also provided.
This document provides context about the Iranian poet Forough Farrokhzad and analyzes some of her poems. It discusses her upbringing and early life experiences that influenced her poetry. Two of her poems, "The Captive" and "To My Sister," are analyzed in detail, examining themes of freedom and oppression of women in Iranian society at that time. A third poem "The Sin" is also discussed, which boldly addressed female sexuality and intimacy in a way that was controversial. Farrokhzad's poetry broke barriers as one of the first prominent female poets in Iran to bring such themes to the forefront.
The document provides examples of quotes from Mary Shelley's Frankenstein and analyses of them, focusing on identifying who said the quote, the context, narrative techniques used, and connections to themes. It also discusses major themes in Frankenstein like knowledge, women, the sublime, family, education, science, and provides context on Mary Shelley's life and influences. The document serves as a reference for discussing, analyzing, and understanding important elements and quotes within Frankenstein through short analyses.
Analysis of To Woolf's The Lighthouse and Lawrence's Sons and Lovers w.r.t. S...Raja Zia
This was a tough assignment. It contains Stream of Consciousness in Virginia Woolf's novel To The Lighthouse and D.H. Lawrence's novel Sons and Loves. Its just a short and general analysis. Hope will be of help.
This document is the preface and first chapter of a book titled "The Visionary Shakespeare" by Alexander C. H. Tung. The preface discusses how Shakespeare can be considered one of the greatest visionaries, in the sense that his works often represent eternal truths about life. The book contains 7 papers that analyze different visions found in Shakespeare's works, including ironic, deconstructionist, semiotic, psychoanalytic, racial, humanist, and visions of nature and power. The preface argues these visions can be found across multiple plays, though each paper focuses on manifesting a particular vision in one or a few plays. The first chapter analyzes Romeo and Juliet, arguing it can be seen as a "
Kate Chopin's short story "The Story of an Hour" follows Mrs. Mallard as she processes the news of her husband's death. She moves quickly from grief to a sense of newfound freedom from her restrictive marriage. However, her joy turns to despair when she learns her husband is actually still alive. The story examines 19th century gender roles and how women were expected to be subservient to their husbands. It uses symbolism like an open window to represent Mrs. Mallard finding an opportunity for independence that ultimately leads to her own death from heart trouble.
The document provides an analysis of Graham Greene's short story "The Invisible Japanese Gentlemen". It summarizes the plot, which involves a conversation between a self-centered young woman and her fiancé that fails due to their lack of communication and understanding of each other. It also analyzes the characters, themes of failed communication in modern society, and contrasts the failed conversation of the couple with the more respectful communication of the Japanese businessmen at another table. The analysis examines the story's structure, use of irony, and criticism of young people's selfishness and lack of seriousness.
Tropic of cancer these novels will give way, by andojas18
This document provides biographical information about author Henry Miller and summarizes his novel Tropic of Cancer. It describes how Miller grew up in Brooklyn and worked as a personnel manager for a telegraph company before leaving abruptly. Dissatisfied with his job, Miller then moved to Paris with just $10, living there for over a decade while writing Tropic of Cancer, which was published in 1934 and immediately banned in English-speaking countries for its explicit content. The document presents Miller as rebelling against conventional literature and as a uniquely American author in the tradition of Walt Whitman who created a new style of "wisdom literature."
The document provides commentary and feedback on student thesis statements for literary analysis papers. The commenter provides guidance on specifying story details, defining symbolic elements, and revising statements for clarity and focus. Suggestions include mentioning the story title, being explicit about what elements will be analyzed, and ensuring claims are narrow enough to be adequately supported in the paper. The goal is to help students strengthen their thesis statements and focus their analysis.
Mary Shelley uses powerful language to emphasize Frankenstein's intense emotions at the moment of creating the monster. The line "With an anxiety that almost amounted to agony, I collected the instruments of life around me" shows his obsession and suggests his actions are dangerous. The alliteration of "anxiety" and "agony" makes the moment more dramatic. This foreshadows that Frankenstein's meddling with nature will have negative consequences, proving he should not have interfered in this way. The story is a warning about the dangers of scientific experimentation and mankind overreaching.
The document outlines the agenda and topics for an EWRT 30 class. The class will cover terms related to characters and plot, including protagonist, antagonist, motivation, and chronological order. It will also discuss point of view and review short stories. The class will include a lecture on character and setting as basic elements of a story. Character types such as round, flat, dynamic and static will be defined. Methods of characterizing characters through description, reaction of others, words and actions will be covered.
The document is an assignment submission analyzing the short story "The Tenth Man" by Graham Greene. It summarizes the plot, which takes place in a prison in occupied France during World War 2 where one in ten prisoners must be executed. It then analyzes several themes in the story, including the willingness to sacrifice for others, the loss of identity after war, existentialism, alienation, and the anxiety of lying versus the truth. The submission discusses how Greene portrays these profound philosophical themes through the simple story.
The poem describes a narrator who is woken from an erotic dream by a woman. He attempts to persuade her to stay in his bed by saying she has the power to make dreams into reality. When she rises to leave, he questions her intentions and says love becomes weak with hesitation and shame. He tells her it would be profane to see her as anything other than herself. In the end, he says he will either dream of her again or die without her staying.
The Tenth Man” is not merely a suspense novel; it is an expression of a profo...Fatima Gul
Graham Greene's novel "The Tenth Man" depicts profound faith in human goodness despite moments of suspense. Although the story creates uncertainty through suspenseful events, it ultimately shows humanity's potential for morality. Various characters experience internal conflicts between vice and virtue but their better nature prevails. The novel explores how one's true character is revealed during challenges, with acts of sacrifice and compassion overcoming selfish impulses. Despite complex emotions like hatred, characters find the goodness within themselves to act considerately towards others.
The very first paper I wrote as a college student. Was for one of my favorite classes I have ever had the opportunity to be apart of. We learned of our world through the eyes of great philosophers from the past. Thus, we hope to make better decisions in our future.
The document provides background on a chapbook assignment where the author challenged themselves to write darker stories with disastrous endings instead of their usual lighter tone. It summarizes each of the 4 pieces included in the chapbook: "Gravity's Truth" is about a skydiver from the perspective of gravity; "Snap" is about a bitter mouse facing danger in her tree; "My Captain, My Blood" is a ghazal poem about a ship losing her captain; and "International Maternity" is a revised story about crossing borders during pregnancy. The author aimed to make readers think about different human experiences through each piece.
The poet Byron expressed the view that his writing derived from a painful intensification of self and the desire for relief from it. To withdraw himself from himself, to be relieved from what he saw as his "cursed selfishness," this was his sole, his entire, his "sincere motive in scribbling at all."
While I find there is some truth in this explanation for the origins of my writing, there is so much more to it; indeed, the raison d'etre is quite complex. It is a subject I have gone into from time to time throughout this memoir and I feel the need to expatiate on it to touch the motivational matrix, the explanatory framework, for why and what I am doing. Writing as I do here may be an escape from self, but it is also a royal road to selfhood. This work also negotiates the relationship between self and community in both the Bahá'í Faith and the nations I have lived in, Australia and Canada. This exercise in negotiation is also a source of the complexity I refer to above. There seem to have been many different impulses at work in these volumes.
This document provides a summary and analysis of three contemporary trauma narratives: Jonathan Safran Foer’s Everything is Illuminated and Extremely Loud & Incredibly Close, and Nicole Krauss’ The History of Love. It argues that these works uniquely utilize the reading process to deal with trauma from 9/11 and the Holocaust. For Foer's Everything is Illuminated, the narratives are letters between characters that complete each other through the reading process. The protagonist Alex develops through reading the fictional story, helping him face his own trauma. Extremely Loud & Incredibly Close combines the narratives of different characters that the protagonist has assembled, showing how reading connects different trauma stories.
1) The document analyzes similarities between Plato's "Allegory of the Cave" and Kendrick Lamar's 2015 album "To Pimp a Butterfly."
2) In Plato's allegory, prisoners are chained in a cave seeing only shadows on a wall, coming to believe them as reality until one escapes. Similarly, Lamar's album depicts escaping from a mental "cocoon" and "hood mentality."
3) Both works involve a journey of gaining knowledge and understanding, then feeling compelled to return and share this wisdom, despite resistance from those still imprisoned by their limited perceptions. The document argues Lamar's album can be viewed as a modern adaptation of Plato's allegory.
This document analyzes how J.K. Rowling incorporated elements of Greek and Roman mythology into the Harry Potter series to help establish it as a modern epic. It provides examples of how Rowling used mythology in character names like Minerva McGonagall and Pomona Sprout. Rowling also references mythology in elements like Harry's lightning-shaped scar symbolizing Zeus. The document argues Rowling did this to connect Harry Potter to classic stories and reward knowledgeable readers, helping establish the series as an epic for modern times.
Vistazo a los modelos CMMI:
- Que justifica la mejora de procesos
- En que consiste CMMI y que beneficios brinda
- Como llevar a la practica una mejora de procesos eficaz y con ROI
Integrated Work Management (IWM) aims to establish and manage work according to a defined and integrated process tailored for the organization. IWM involves defining processes to identify, coordinate, and manage development activities, service activities, and other factors like cost, schedule, risks, and staffing. It also coordinates relevant stakeholders to address their requirements, plans, objectives, and issues to improve efficiency. IWM establishes teams and uses organizational assets to plan work, monitor progress, address issues, and ensure stakeholders' needs are met through an integrated work process.
Analysis of To Woolf's The Lighthouse and Lawrence's Sons and Lovers w.r.t. S...Raja Zia
This was a tough assignment. It contains Stream of Consciousness in Virginia Woolf's novel To The Lighthouse and D.H. Lawrence's novel Sons and Loves. Its just a short and general analysis. Hope will be of help.
This document is the preface and first chapter of a book titled "The Visionary Shakespeare" by Alexander C. H. Tung. The preface discusses how Shakespeare can be considered one of the greatest visionaries, in the sense that his works often represent eternal truths about life. The book contains 7 papers that analyze different visions found in Shakespeare's works, including ironic, deconstructionist, semiotic, psychoanalytic, racial, humanist, and visions of nature and power. The preface argues these visions can be found across multiple plays, though each paper focuses on manifesting a particular vision in one or a few plays. The first chapter analyzes Romeo and Juliet, arguing it can be seen as a "
Kate Chopin's short story "The Story of an Hour" follows Mrs. Mallard as she processes the news of her husband's death. She moves quickly from grief to a sense of newfound freedom from her restrictive marriage. However, her joy turns to despair when she learns her husband is actually still alive. The story examines 19th century gender roles and how women were expected to be subservient to their husbands. It uses symbolism like an open window to represent Mrs. Mallard finding an opportunity for independence that ultimately leads to her own death from heart trouble.
The document provides an analysis of Graham Greene's short story "The Invisible Japanese Gentlemen". It summarizes the plot, which involves a conversation between a self-centered young woman and her fiancé that fails due to their lack of communication and understanding of each other. It also analyzes the characters, themes of failed communication in modern society, and contrasts the failed conversation of the couple with the more respectful communication of the Japanese businessmen at another table. The analysis examines the story's structure, use of irony, and criticism of young people's selfishness and lack of seriousness.
Tropic of cancer these novels will give way, by andojas18
This document provides biographical information about author Henry Miller and summarizes his novel Tropic of Cancer. It describes how Miller grew up in Brooklyn and worked as a personnel manager for a telegraph company before leaving abruptly. Dissatisfied with his job, Miller then moved to Paris with just $10, living there for over a decade while writing Tropic of Cancer, which was published in 1934 and immediately banned in English-speaking countries for its explicit content. The document presents Miller as rebelling against conventional literature and as a uniquely American author in the tradition of Walt Whitman who created a new style of "wisdom literature."
The document provides commentary and feedback on student thesis statements for literary analysis papers. The commenter provides guidance on specifying story details, defining symbolic elements, and revising statements for clarity and focus. Suggestions include mentioning the story title, being explicit about what elements will be analyzed, and ensuring claims are narrow enough to be adequately supported in the paper. The goal is to help students strengthen their thesis statements and focus their analysis.
Mary Shelley uses powerful language to emphasize Frankenstein's intense emotions at the moment of creating the monster. The line "With an anxiety that almost amounted to agony, I collected the instruments of life around me" shows his obsession and suggests his actions are dangerous. The alliteration of "anxiety" and "agony" makes the moment more dramatic. This foreshadows that Frankenstein's meddling with nature will have negative consequences, proving he should not have interfered in this way. The story is a warning about the dangers of scientific experimentation and mankind overreaching.
The document outlines the agenda and topics for an EWRT 30 class. The class will cover terms related to characters and plot, including protagonist, antagonist, motivation, and chronological order. It will also discuss point of view and review short stories. The class will include a lecture on character and setting as basic elements of a story. Character types such as round, flat, dynamic and static will be defined. Methods of characterizing characters through description, reaction of others, words and actions will be covered.
The document is an assignment submission analyzing the short story "The Tenth Man" by Graham Greene. It summarizes the plot, which takes place in a prison in occupied France during World War 2 where one in ten prisoners must be executed. It then analyzes several themes in the story, including the willingness to sacrifice for others, the loss of identity after war, existentialism, alienation, and the anxiety of lying versus the truth. The submission discusses how Greene portrays these profound philosophical themes through the simple story.
The poem describes a narrator who is woken from an erotic dream by a woman. He attempts to persuade her to stay in his bed by saying she has the power to make dreams into reality. When she rises to leave, he questions her intentions and says love becomes weak with hesitation and shame. He tells her it would be profane to see her as anything other than herself. In the end, he says he will either dream of her again or die without her staying.
The Tenth Man” is not merely a suspense novel; it is an expression of a profo...Fatima Gul
Graham Greene's novel "The Tenth Man" depicts profound faith in human goodness despite moments of suspense. Although the story creates uncertainty through suspenseful events, it ultimately shows humanity's potential for morality. Various characters experience internal conflicts between vice and virtue but their better nature prevails. The novel explores how one's true character is revealed during challenges, with acts of sacrifice and compassion overcoming selfish impulses. Despite complex emotions like hatred, characters find the goodness within themselves to act considerately towards others.
The very first paper I wrote as a college student. Was for one of my favorite classes I have ever had the opportunity to be apart of. We learned of our world through the eyes of great philosophers from the past. Thus, we hope to make better decisions in our future.
The document provides background on a chapbook assignment where the author challenged themselves to write darker stories with disastrous endings instead of their usual lighter tone. It summarizes each of the 4 pieces included in the chapbook: "Gravity's Truth" is about a skydiver from the perspective of gravity; "Snap" is about a bitter mouse facing danger in her tree; "My Captain, My Blood" is a ghazal poem about a ship losing her captain; and "International Maternity" is a revised story about crossing borders during pregnancy. The author aimed to make readers think about different human experiences through each piece.
The poet Byron expressed the view that his writing derived from a painful intensification of self and the desire for relief from it. To withdraw himself from himself, to be relieved from what he saw as his "cursed selfishness," this was his sole, his entire, his "sincere motive in scribbling at all."
While I find there is some truth in this explanation for the origins of my writing, there is so much more to it; indeed, the raison d'etre is quite complex. It is a subject I have gone into from time to time throughout this memoir and I feel the need to expatiate on it to touch the motivational matrix, the explanatory framework, for why and what I am doing. Writing as I do here may be an escape from self, but it is also a royal road to selfhood. This work also negotiates the relationship between self and community in both the Bahá'í Faith and the nations I have lived in, Australia and Canada. This exercise in negotiation is also a source of the complexity I refer to above. There seem to have been many different impulses at work in these volumes.
This document provides a summary and analysis of three contemporary trauma narratives: Jonathan Safran Foer’s Everything is Illuminated and Extremely Loud & Incredibly Close, and Nicole Krauss’ The History of Love. It argues that these works uniquely utilize the reading process to deal with trauma from 9/11 and the Holocaust. For Foer's Everything is Illuminated, the narratives are letters between characters that complete each other through the reading process. The protagonist Alex develops through reading the fictional story, helping him face his own trauma. Extremely Loud & Incredibly Close combines the narratives of different characters that the protagonist has assembled, showing how reading connects different trauma stories.
1) The document analyzes similarities between Plato's "Allegory of the Cave" and Kendrick Lamar's 2015 album "To Pimp a Butterfly."
2) In Plato's allegory, prisoners are chained in a cave seeing only shadows on a wall, coming to believe them as reality until one escapes. Similarly, Lamar's album depicts escaping from a mental "cocoon" and "hood mentality."
3) Both works involve a journey of gaining knowledge and understanding, then feeling compelled to return and share this wisdom, despite resistance from those still imprisoned by their limited perceptions. The document argues Lamar's album can be viewed as a modern adaptation of Plato's allegory.
This document analyzes how J.K. Rowling incorporated elements of Greek and Roman mythology into the Harry Potter series to help establish it as a modern epic. It provides examples of how Rowling used mythology in character names like Minerva McGonagall and Pomona Sprout. Rowling also references mythology in elements like Harry's lightning-shaped scar symbolizing Zeus. The document argues Rowling did this to connect Harry Potter to classic stories and reward knowledgeable readers, helping establish the series as an epic for modern times.
Vistazo a los modelos CMMI:
- Que justifica la mejora de procesos
- En que consiste CMMI y que beneficios brinda
- Como llevar a la practica una mejora de procesos eficaz y con ROI
Integrated Work Management (IWM) aims to establish and manage work according to a defined and integrated process tailored for the organization. IWM involves defining processes to identify, coordinate, and manage development activities, service activities, and other factors like cost, schedule, risks, and staffing. It also coordinates relevant stakeholders to address their requirements, plans, objectives, and issues to improve efficiency. IWM establishes teams and uses organizational assets to plan work, monitor progress, address issues, and ensure stakeholders' needs are met through an integrated work process.
El documento describe el Modelo CMMi, un conjunto de buenas prácticas para mejorar los procesos de desarrollo de software y sistemas. Explica que el CMMi ofrece una guía para la mejora continua mediante dos representaciones: por etapas, con niveles de madurez, y continua, con niveles de capacidad de las áreas de proceso. También describe las constelaciones, estructura y áreas de proceso del modelo.
I Jornada CSI - Joaquín Lasheras (CenTIC) - Experiencia en la implantación d...233 Grados de TI
El documento describe la experiencia de CENTIC en ayudar a pymes a implantar el modelo CMMI-DEV para mejorar sus procesos de desarrollo de software. Se realizaron cuatro fases que incluyeron formación, diagnóstico, definición de soluciones, pilotaje e implantación en las empresas participantes. Se utilizaron herramientas de software libre para gestionar requisitos, configuración, proyectos y calidad. El objetivo era que las empresas obtuvieran la certificación CMMI Nivel 2.
Introducction - gestion por procesos para resultadosRafael Paim
Esta lección se ha dado a los profesionales de Argentina, Colombia, Guatemala. Mexico, Panamá y Paraguay.
Temas de la clase:
Por que Gobernar y Gestionar Procesos?
Que son Procesos?
Procesos Transversales
Dinámica “De-Hasta”
Gestión Integrada por Procesos
El papel de la Arquitectura Empresarial en la Gestión por Procesos (BPM)Spain-AEA
El documento presenta una conferencia sobre el papel de la Arquitectura Empresarial en la Gestión por Procesos (BPM). Pedro Robledo discute cómo la AE y el BPM deben trabajar juntos para alinear los procesos y recursos con la estrategia del negocio. Robledo también explica cómo la AE puede mejorar los procesos mediante el análisis de impacto y el diseño organizacional, mientras que el BPM puede ejecutar procesos y mejorarlos continuamente. En general, la AE es fundamental para cualquier iniciativa BPM, y el BPM
El documento describe el modelo de madurez CMMI y su implementación en una empresa con varias unidades de negocio. Cada unidad tiene su propia unidad de desarrollo de software que opera de forma independiente. Se propone implementar CMMI para estandarizar los procesos, mejorar la calidad del software y reducir costos. El plan incluye analizar los procesos actuales, identificar brechas con CMMI, y aplicar los estándares a nivel empresa y unidades para lograr una implementación exitosa en 10 meses.
Modelo de madurez de capacidades integrado andrual125
El documento describe el Modelo de Madurez de Capacidades Integrado (CMMI), incluyendo su historia, componentes, niveles de madurez, áreas de proceso comunes y diferentes representaciones. CMMI fue desarrollado para evaluar y mejorar la capacidad de los procesos de una organización. Incluye prácticas para alcanzar cinco niveles de madurez y áreas de proceso como gestión de requisitos, gestión de configuración y medición y análisis. CMMI ha sido adoptado por muchas industrias y
El documento introduce los modelos de calidad de software CMM y CMMI. Explica que el CMM fue desarrollado originalmente por el SEI para mejorar los procesos de desarrollo de software, y que luego el CMMI fue creado para integrar el CMM con otros modelos de ingeniería. También describe las dos representaciones del CMMI (escalonada y continua), indicando que ambas contienen los mismos elementos organizados de manera diferente.
El documento describe el modelo CMMI (Capability Maturity Model Integration) para la mejora y evaluación de procesos de desarrollo de software. Explica que CMMI clasifica la madurez de las organizaciones de software en diferentes niveles dependiendo de los procesos utilizados. También resume los pasos para implementar CMMI en una empresa y las principales áreas de mejora que ofrece este modelo.
El documento describe los beneficios de aplicar procesos de gestión de la calidad como CMMI. Estos incluyen reducir costos de desarrollo, mejorar la planificación y productividad, reducir defectos, y mejorar la calidad del producto y la imagen de marca. También señala que CMMI puede ser costoso y complejo de implementar, y no se ajusta bien a los enfoques centrados en el servicio.
This document outlines a plan for a company reorganization that will reduce costs. It proposes consolidating several smaller departments into two larger divisions to remove redundant manager and supervisor roles. This restructuring is estimated to save the company $500,000 per year in personnel expenses.
Este documento presenta una introducción al modelo CMMI (Capability Maturity Model Integration). Explica que CMMI es un modelo de evaluación de procesos que provee elementos para mejorar procesos de ingeniería de software y desarrollo organizacional. Describe los niveles de madurez, áreas de proceso, y beneficios de usar CMMI. Finalmente, presenta una tabla que resume el nivel de madurez actual de las áreas de proceso de una organización.
El documento describe los problemas de las organizaciones no maduras en el desarrollo de software, como la falta de procesos definidos y la improvisación. También introduce el modelo CMMI, el cual proporciona elementos esenciales para procesos de software eficaces mediante la definición de niveles de madurez de las organizaciones y áreas de procesos clave. Finalmente, resume brevemente los niveles de madurez del modelo CMMI y algunas de sus áreas de procesos.
1. A Skeleton Key to The Locked Room
Every detective story leaves clues, and the biggest clue to unlocking The
Locked Room is the locked room metaphor itself. Starting with the title of the
book, there are a myriad of references to locked rooms in its pages. In order to
unlock the layers of meaning behind the locked room, I will employ the
metaphor as a “skeleton key” to examine how it relates to the two primary
characters in the book: Fanshawe and the narrator. In doing so, I will show
how Auster uses the locked room metaphor as a symbol for the various ways
these characters engage in the search for self. Indeed, as Shiloh asserts, “The
Locked Room foregrounds the quest for the self, which is the central pursuit of
both its protagonists” (Shiloh 79).
Fanshawe’s locked rooms are employed on two levels: as a psychological
escape mechanism and as a metaphysical challenge to control his destiny. In
order to understand the ways in which the locked room operates for Fanshawe,
first we must examine the way he is depicted early in the novel and the way he
acts in response to his surrounding environment. This in turn will bring his
controlling, anti-heroic adult behavior into clearer focus.
Fanshawe is the hub around which The Locked Room turns. The opening
lines of the book illustrate this well: “It seems to me now that Fanshawe was
always there. He is the place where everything begins for me…” (Auster 195).
Thus, he dominates the story both in and behind the scenes. Further, he is
depicted, at least at first, as someone who is larger-than-life, cut in the mold of
2. an archetypical American hero. He is charismatic, aloof, good-looking, self-
effacing, morally upright, smart, athletic, and adventurous:
“Any one of these things would have been enough to give him
special status—but together they made him seem heroic, a child
who had been touched by the gods” (Auster 210).
For the supremely gifted Fanshawe, things come easy. According to the
narrator, "One had the impression that there was nothing he did not do well,
nothing he did not do better than everyone else" (Auster 214). But alongside
these gifts, there is a restless side to Fanshawe:
“Behind all the surface composure, there seemed to be a great
darkness: an urge to test himself, to take risks, to haunt the edges
of things” (Auster 214).
This adventurousness is an integral part of Fanshawe’s personality and drives
him to, in his words, “taste life” (Auster 214). Cast as a quintessential
American hero, Fanshawe is gifted, independent, omnipresent, charismatic,
and driven to explore the world around him.
In contrast to his robust personality, Fanshawe exhibits a lifelong
tendency to retreat into himself, into an internal “locked room,” as it were.
Several early incidents illustrate this inclination. When the narrator and
Fanshawe were young, “no more than four or five years old” Fanshawe would
close himself in an old appliance box, “his secret place” where “he could go
wherever he wanted to go, could be whoever he wanted to be” (Auster, 214).
These early escapes into a cardboard version of a locked room represent
Fanshawe’s desire to create his own life, away from the general public, “For
Fanshawe the only possibility to exist is to be radically isolated from others”
3. (Kugler 68). Indeed, by his teenage years, Fanshawe exhibits withdrawal
behavior:
“[he] became a kind of internal exile, going through the motions of
dutiful behavior, but cut off from his surroundings, contemptuous
of the life he was forced to live…he simply withdrew…Fanshawe
almost disappeared by the time we reached high school” (Auster
212).
Despite his gifts and his potential, Fanshawe disdains his environment and
chooses to withdraw. As a result, he forms a psychological buffer zone—a
locked room—that he carries inside himself and from which he can create
himself. This is an evolutional leap from a child’s cardboard box of fantasies. It
signifies a struggle to define life on his own terms. He is “…the author and
creator of his own self, which is the sole source of strength” (Shiloh 81).
The combination of Fanshawe’s desire to experience life at the edges, his
tendency to separate himself from others, and his inclination to retreat into his
own world results in a powerful drive to control his own destiny. He seems
born to achieve the American dream and fulfill the expectations that come with
it. Instead, in Thoreau-like way, he turns his back on it at every juncture,
retreating further and further from the mainstream. He refuses to star on the
baseball team, excel at Harvard, be a father, and publish his writing. Surely he
would have enjoyed success in all of these endeavors. The wide acclaim his
“posthumous” published writing received bears witness to this. Instead, he
walks away from his heroic potential.
When he ships off on a merchant steamer, sequesters himself in a
Parisian maison de campagne, and enclosed himself in a decrepit Boston
4. townhouse—all forms of a locked room—he pursues a course of his own
choosing rather than remaining trapped in an American heroic narrative he did
not construct. Always in control of his story, Fanshawe continues to use these
locked rooms to define his self in the way he sees fit. Even a Greek merchant
ship serves this purpose:
“I shipped out again…It was disgusting, truly repulsive from
beginning to end. But I truly deserved it; it was exactly what I
wanted (emphasis added)” (Auster 303).
As a result, by the self-ordained end of his life, he has become much less
than he knows he can be, and deliberately so, to the point of becoming a ghost
of himself. When the narrator arrives at the townhouse in Boston, he doesn’t
see Fanshawe at all. He hears from a disembodied pair of lips behind a closed
door, as if listening to the communication of an otherworldly phantom. To be
sure, this locked room remains a place of escape and struggle, but it is also
where Fanshawe has decided to end his story. By denying himself, “Don’t use
that name…Not Fanshawe! Not Fanshawe—ever again!” he arrives at the final
stop on his self-determined journey.
By living in self-exile, surrendering his heroic potential, and refusing to
participate in the American dream, Fanshawe constructs himself as an anti-
hero. He has enclosed himself in many locked rooms along the way, rooms he
could have left at any time, but he used them to evade the culturally imposed
expectations of the American hero’s narrative. This narrative was the decisive
locked room for Fanshawe. Although metaphysical in nature, it is the one that
he fought most to escape. For Fanshawe, “the locked room [is] the ultimate
5. retreat, the ultimate renunciation, leading to the ultimate act of despair”
(Shiloh 100).
At the end of the novel, one last task remains to make good his escape
and complete his story, and that is to die. If the hero always succeeds, then the
anti-hero must fail: “…in the end the only thing he really wanted was to fail—
even to the point of failing himself” (Auster 307). His loaded pistol is the key
that unlocks this room of no return, and even in his closing act, Fanshawe
controls his story. In death, he will lock himself inside in the narrative of the
anti-hero, which thereafter no key can open.
If Fanshawe is the hub of the novel, the narrator is the satellite that
revolves around him. The narrator’s life is inextricably bound up with
Fanshawe’s: “We met before we could talk” (Auster 195), they were blood
brothers for life, and Fanshawe was a ghost the narrator carried around. Thus
from the very beginning of the novel, we see the narrator’s most fundamental
locked room is not a place, but the psychological bond he had with Fanshawe,
“He was…the one I saw whenever I looked up from myself” (Auster 196). The
events that unfold throughout the book depict the narrator’s struggle as he
tries to free himself from this locked room and establish his own identity
independent of Fanshawe. In concert with these events, we will see how the
narrator creates his own locked rooms of secrets and lies that only add to his
anguish.
Initially, the narrator is unwittingly trapped in a narrative controlled by
someone else. Confident of Fanshawe’s demise, he begins a relationship with
6. Fanshawe’s wife Sophie, establishes a stable income editing Fanshawe’s
writing, and dotes on Fanshawe’s child who comes to recognize the narrator as
his father. However, the narrator’s actions not only breathe life into Fanshawe’s
ghostly memory, he inspires Fanshawe’s resurrection from the imaginary dead,
in the form of letter written to the narrator. The letter shakes the narrator out
of his blissful slumber, but in his “greatest failure of all” (Auster 235) he
decides to keep the letter a secret from Sophie and do what Fanshawe asked
him to do: make Sophie divorce Fanshawe, marry her, and be a father to
Fanshawe’s child. According to Peacock, “This gives, then, another meaning to
the title—the locked room is also the destructive secret” (Peacock, 78). Thus, in
doing Fanshawe’s bidding, the narrator accepts Fanshawe’s father-like control
over him and also creates his own kind of locked room, one comprised of
secrets, “I locked up the secret inside me and learned to hold my tongue”
(Auster, 235). At that point, the narrator’s outwardly idyllic family life is
undermined by this undisclosed information and by the internal confusion that
results from his assumption of Fanshawe’s identity. These choices generate an
irreconcilable dissonance that pulls the narrator into a downward spiral of
psychological dissolution.
The narrator’s next moral compromise—his next self-constructed locked
room—was the agreement to write Fanshawe’s biography: “Not only would I
have to leave the letter out, but I would have to pretend that it had never been
written…I plunged into it with deceit in my heart” (Auster 242). Along the way,
he begins to wonder if he were digging a grave, not just for Fanshawe, but also
7. for himself (Auster 246). The narrator continues digging his metaphorical grave
when in a drunken fervor he conquers Fanshawe’s mother. This quasi-
incestuous liaison—“You even look like him you know” (Auster 256)—is a
twisted Oedipal consummation of the narrator’s desire to kill his father-figure
Fanshawe. After this despicable act and yet another secret—another locked
room to strain his increasingly fragile psyche—the “worst began then” (Auster,
263) for the narrator. As Shiloh astutely observes, “…the realization of the
Oedipal fantasy, even in partial terms (the possession of the mother), conduces
to disintegration of the ego” (Shiloh, 93). As he and Sophie’s relationship
deteriorates, he uses the now abandoned idea of a biography as a cover for
hunting down Fanshawe. This is yet another secret to be locked away. Despite
all his efforts, the clues he gathers lead to nothing. However, the more he
reconstructs Fanshawe’s life, the more the narrator seems to vanish as a
person. As Sophie says, “I sometimes think I can see you vanishing before my
eyes” (Auster 280). The vanishing symbolizes the psychological fragmentation
occurring within the narrator, fragmentation which is worsened by the many
locked rooms containing his secrets and lies.
After usurping the Freudian Other (Fanshawe), and even destroying him
in an Oedipal sense, the narrator does not find self-fulfillment. Rather, after
traveling to Paris, he loses his grip on what is left of himself: “A month
is…more than enough for a man to come apart” (Auster, 287). He discovers
that the locked room he has been trying to escape is “located inside my skull”
(Auster 286). Having put on Fanshawe’s identity, he realizes that it does not fit.
8. Fanshawe is only a figment of his imagination, and an imperfect one at that. In
her book, Auster and the Postmodern Quest, Shiloh provides cogent insight on
this point:
“In The Locked Room, the object of the narrator's quest is
Fanshawe's self, which he perceives as a stable and autonomous
entity. But this self is a fictional construct, a fabrication of the
narrator's mind, as were the fictive characters he had invented for
the Harlem census” (Shiloh 102).
Failing in his quest to become the Other, the narrator loses his self: “I felt as
though I was no longer inside myself. I couldn’t feel myself anymore. The
sensation of life had dribbled out of me…the undeniable odor of nothingness”
(Auster 292).
He falls into a euphoric suicidal state, provoking Peter Stillman, aka
“Fanshawe” to pummel him to a hoped for death and release from the locked
room of his self-less, identity-less life. After being beaten to within an inch of
his life, the narrator begins to pull himself and his family back together. As
Martin states, ““With Stillman viewed as Fanshawe, the narrator regains his
independence and is finally reunited with his selfhood” (Martin 140). In
addition, by distancing themselves from Fanshawe (and ironically creating a
shared locked room) he and Sophie strengthen their relationship start to free
themselves from Fanshawe’s ghostly grasp.
This psychological integration process continues to the end of the novel,
where we finally encounter a physical locked room at 9 Columbus Square in
Boston. There, the narrator and Fanshawe meet, each on one side of a closed
double door that is never opened. Although the narrator attempted to enter the
9. locked room of Fanshawe’s self and failed, he has “tasted death” and survived.
That experience has changed him. Now he has the courage to confront
Fanshawe as his own man, even if Fanshawe functions as a trope for death, “I
learned to live with him in the same way I learned to live with my own death”
(Auster 295). The two men are now separate selves, separated by the door both
physically and psychologically. The narrator understands that “he cannot
transcend the boundaries of self and that his desire to unite with the other can
never be satisfied” (Shiloh 100).
Not without some anguish, the narrator leaves the townhouse carrying
Fanshawe’s red notebook that purports to contain an “explanation for what I
did” (Auster 304). After reading it and finding no answers, the narrator
destroys the notebook page by page. Through this act, the narrator releases
himself from Fanshawe’s control over him. The narrator finds the key to his
fundamental locked room and, most importantly, his self-identity. In this
assertion of self, the narrator finally awakens to himself, “I could see my breath
in the air before me, leaving my mouth in little bursts of fog (emphasis added)”
(Auster 308).
The locked room metaphor operates in multiple ways in Auster’s novel.
For Fanshawe, there were three main ways. First, the locked room was a way of
isolating himself from others (e.g. the cardboard box, the open grave, the ships,
and the locked room) enabling him to create his own life and experience it in
his own way. Second, by refusing the hero’s role, Fanshawe was able to assert
control over his own life narrative, thus freeing himself from societal
10. expectations associated with his natural gifts and talents. Third, Fanshawe
created a locked room for the narrator using his past friendship and father-like
power to direct and control the narrator’s life. For the narrator, the locked
room functioned as a psychological enclosure for secrets and lies (e.g. the
letters, the affair, the pretense of writing a biography, and the lost month in
Paris). It also served to underscore his struggle to establish his own identity
independent of Fanshawe. In the end, but not without a monumental effort, he
escapes the Fanshawe-centered locked room within himself. In the broadest
sense, the locked room symbolizes the quest for self. Although Fanshawe and
the narrator took two different paths on this quest, both journeys involved a
desire to escape from imposed notions of self as well as a prolonged struggle to
establish their identities. If there is a mystery in The Locked Room, it is the
mystery posed by the question, “Who am I?” In this novel at least, that mystery
remains largely unsolved.
11. Works Cited
Auster, Paul. The New York Trilogy. New York, N.Y., U.S.A: Penguin Books,
1990. Print.
Kugler, Matthias. “Paul Auster's "The New York Trilogy" as Postmodern
Detective Fiction.” MA Thesis. University of Freiburg, 1999.
Martin, Brendan. Paul Auster's Postmodernity. New York: Routledge, 2008.
Print.
Peacock, James. Understanding Paul Auster. Columbia: University of South
Carolina, 2010. Print.
Shiloh, Ilana. Paul Auster and Postmodern Quest: On the Road to Nowhere. New
York: Lang, Peter, Publishing Inc, 2012. Print.