Dissertations / Theses on the topic 'Crible visuel'

Depuis l'interdiction des néonicotinoïdes dans l'Union Européenne, la production de betteraves sucrières est fortement menacée par des épidémies de jaunisses virales. Ces maladies sont causées par un complexe de plusieurs virus transmis par les pucerons. Parmi eux, les polérovirus, responsables de jaunisses modérées, tels que le beet mild yellowing virus (BMYV) et le beet chlorosis virus (BChV), sont particulièrement répandus. Afin d’améliorer le criblage des variétés de betteraves sucrières résistantes ou tolérantes aux jaunisses virales, nous avons mis au point un virus recombinant provoquant des symptômes visibles permettant de distinguer facilement et sans autre technologie les plantes infectées des plantes saines. Il s’agit d’un clone de BMYV capable d'induire l'extinction d'un gène endogène via le phénomène de virus induced gene silencing (VIGS) dont l’infection se manifeste par l'apparition accélérée de jaunisses au niveau des nervures des feuilles des betteraves, dès dix jours après l'agroinoculation. Les analyses moléculaires ont révélé que le virus recombinant présente un pouvoir infectieux comparable à celui du virus sauvage, et que l'insertion génétique est stable dans la descendance virale pendant au moins cinq mois après infiltration. Nos résultats ont également montré que le pourcentage de plantes présentant des symptômes de VIGS est représentatif du taux d'infection pour chaque lignée de betteraves testée. L'utilisation de cet outil nous a permis d'identifier visuellement au sein de quarante-deux lignées de betteraves sucrières, une lignée potentiellement résistante au BMYV ainsi que trois lignées partiellement résistantes. De telles lignées représentent des candidats potentiels intéressants pour les programmes de sélection. Ainsi, ce travail valide l'utilisation d'un polérovirus comme vecteur de VIGS, adapté à la betterave sucrière, permettant des criblages visuels et robustes à grande échelle pour l'identification de gènes de résistance ou pour des études fonctionnelles<br>Since the ban on neonicotinoids in the European Union, sugar beet production has been severely threatened by virus yellows (VY) epidemics. VY are caused by a complex of several aphid-transmitted viruses, among which the poleroviruses beet mild yellowing virus (BMYV) and beet chlorosis virus (BChV) are highly represented. In order to improve the screening of sugar beet varieties resistant or tolerant to viral yellows, we produced a recombinant virus, allowing easy and rapid visual discrimination between infected and healthy plants, without the need of additional equipment. It is a clone of BMYV capable of inducing the silencing of an endogenous gene via the phenomenon of virus induced gene silencing (VIGS), with infection manifesting as accelerated vein clearing of leaves, starting as early as ten days after agroinoculation. Molecular analyses revealed that the recombinant virus displays the same infectivity as the wild-type virus and that the insert is stable within the viral progeny, till at least five months post-infiltration. Our results also indicated that the percentage of VIGS-symptomatic plants is representative of the infection rate for each evaluated line. The use of this tool allowed us to visually identify one BMYV resistant and three partial resistant lines from forty-two sugar beet lines. Such lines represent interesting potential candidates for breeding programs. Thus, this work validates the use of a polerovirus as a VIGS vector, adapted to sugar beet, allowing large-scale, robust visual screenings for the identification of resistance genes or for functional studies

Alors que le mime deburau triomphe au theatre des funambules, entre 1820 et 1846, et consacre l'art de la pantomime blanche dont il definit les regles, les grands ecrivains du milieu du xixeme siecle en france se posent la question du rapport entre le langage et le visuel. Le personnage lunaire de pierrot, heros de deburau et de ses successeurs jusqu'en 1880 environ, sera la pierre d'achoppement d'une reflexion theorique sur la mimesis et les possibilites offertes par un art du silence longtemps meprise et remis au gout du jour, a tel point que nodier, champfleury, gautier, flaubert, entre autres, composeront eux-memes des scenarios de pantomimes. Une esthetique de l'ecriture pantomimique se dessine, alors que certains de ses elements caracteristiques (figures de la commedia dell'arte, jeux de scenes bouffons, farces comiques) contaminent le domaine litteraire et apparaissent dans nombre de romans, poemes et pieces de theatre. La pantomime, envisagee a partir de ses rappors avec l'ecrit, mais aussi avec la photographie, la danse, la sculpture et la bandedessinee, permet d'eclairer le debat sur une nouvelle complementarite entre parole et image<br>From 1820 to 1846, deburau is very well-known as a mime in the funambules theater and he defines the rules of his art, the "white pantomime". During that time the most famous authors of the mid 19th century interrogate themselves on the relations between language and visual arts. Pierrot, deburau's hero, is the center of a reflexion about the mimesis. The possibilities given by an silent art have been despised during a long time and become fashionable with champfleury, nodier, gautier, flaubert, who start to write some stories for deburau's pantomimes. A "pantomimic writing" begins to emerge with its own rules and some of its caracteristics (the italian characters of commedia dell'arte and the comic scenic plays) begin to appear in the novels, poems and theater plays, until 1880. Pantomime, in its relations with written language, photography, dance, sculpture and cartoon, is a way to study the new complementarity between language and visual arts

Esta dissertacao apresenta um trabalho de reflexao sobre dois dos principais MC's do atual hip-hop paulistano: Criolo e Emicida. Os capitulos foram pensados como mapas, no sentido que a pesquisa cartografica vem apontando para o termo. Amparado na compreensao de rizoma, lancamo-nos a ideia de escutar a polifonia visual, conceito que foi se lapidando ao longo do trabalho de analise de algumas obras dos artistas mencionados. Sao analises que penetram e revelam multiplas camadas de sentidos, inscritas tanto na elaboracao visual como sonora das obras. Mikhail Bakthin, Paul Zumthor, Gilles Deleuze e Felix Guattari, sao os principais interlocutores que fundamentam nossos mapeamentos.<br>This dissertation presents reflections on two of the main MC's of nowadays Sao Paulo's hip-hop: Criolo and Emicida. Chapters were thought as maps, in the same sense as cartographic research points to this notion. Based on the comprehension of the rhizome concept, we throw ourselves into the ideia of listening the visual polyphony, a concept that became more precise along the analysis of some works from the mentioned artists. These analysis penetrate and reveal multiple layers of signification, inscribed either in the visual as in the sound elaboration of the works. Mikhail Bakthin, Paul Zumthor, Gilles Deleuze and Felix Guattari, are the main interlocutors that substantiate our mappings.

Mestrado em Línguas e Relações Empresariais<br>A presente dissertação, no âmbito do mestrado de Línguas e Relações Empresariais, tem como objetivo aferir a perceção do público relativamente à identidade visual do Novo Banco, de modo a compreender se esta atuou eficazmente enquanto instrumento de comunicação no pós crise da instituição. Esta eficácia prende-se com a capacidade da identidade visual influenciar positivamente uma marca, promovendo o seu reconhecimento e visibilidade, bem como a diferenciação e o posicionamento positivo na mente do público. O processo de desmantelamento do Banco Espírito Santo, e posterior surgimento do Novo Banco, encontra-se associado a uma forte carga emocional. Por isso, com a intenção de avaliar com maior exactidão o impacto desta carga emocional inerente ao Novo Banco, foram estudadas, também, associações semânticas à marca, reveladoras do significado afetivo do público relativamente à organização. Para o cumprimento objetivo, foram delineadas bases contextuais e teóricas, que levaram à aplicação de um questionário que visou a obtenção de dados relativos, precisamente, à perceção do público geral. Os resultados sugerem que a identidade visual não foi uma resposta suficientemente eficaz dado que determinados componentes que a constituem não oferecem uma interpretação clara do que significam, originando baixos níveis de concordância. Contudo, os resultados mostram, ainda, que grande parte desta ineficácia deriva das consequências da crise no Banco Espírito Santo, ainda muito presentes na mente do público.<br>This thesis, for completion of the Masters in Languages and Business Relations, aims to measure the perception of the public as to the visual identity of Novo Banco, in order to understand if it worked effectively as a communication tool in the post crisis of the institution. This effectiveness is related to the ability of the visual identity to positively influence a brand, promoting its recognition and visibility, as well as differentiation and positive positioning in the public’s mind. The dismantling of Banco Espírito Santo, and subsequent emergence of Novo Banco, is associated with a strong emotional charge. So, in order to assess the impact of this emotional charge more accurately, semantic associations with the brand have also been studied, which reveals the affective meaning the organization generates in the public. For the fulfillment of its purpose, contextual and theoretical backgrounds have been outlined, which led to the construction and application of a questionnaire that aimed at obtain data, precisely, on the perception of the general public. The results suggest that the visual identity wasn’t a good enough response, in terms of efficiency, since certain components don’t offer a clear interpretation of meaning, yielding lower levels of compliance. However, the results also show that much of this inefficiency stems from the crisis consequences in Banco Espírito Santo, still very present in the public’s mind.

Women have historically been the subject of stereotypes – especially criminalized women as they are constructed in the mass media. These stereotypes become particularly problematic when they are invoked in infotainment media – a genre that combines information and entertainment and presents itself as primarily factual. As such, ideological messages delivered through infotainment are also (re)presented as truthful and may be more likely to be taken up by an unquestioning audience. This research aimed to answer the following research question: How does infotainment portray women who commit serious violent crime? In order to answer this question, a qualitative content analysis was employed and “Deadly Women”, a televised infotainment series that narrates and re-enacts true crime stories of women who kill, was selected as a case study. The sample consisted of previously identified typologies: mothers who kill their children, women who kill their partners, adolescent girls who kill, and vigilantes who kill their abusers. Stemming from a critical feminist framework, the analysis revealed that Deadly Women relies on two primary trajectories to explain the violence committed by women and girls. While both trajectories emphasized gendered stereotypes that involved emotionality and mental health issues, they were nonetheless distinct. The first trajectory evoked narratives of the ‘emotionless’ and ‘psychopathic’ perpetrator; while the second trajectory characterized the offender as overly ‘emotional’ and ‘depressed’. These trajectories, along with their related variables, problematically (re)presented violent women and girls in simplistic and dualistic manners that served to obscure rather than to clarify the circumstances surrounding their crimes.

Many tools exist to assist law enforcement agencies in mitigating criminal activity. For centuries, academics used statistics in the study of crime and criminals, and more recently, police departments make use of spatial statistics and geographic information systems in that pursuit. Clustering and hot spot methods of analysis are popular in this application for their relative simplicity of interpretation and ease of process. With recent advancements in geospatial technology, it is easier than ever to publicly share data through visual communication tools like web applications and dashboards. Sharing data and results of analyses boosts transparency and the public image of police agencies, an image important to maintaining public trust in law enforcement and active participation in community safety.

A broad definition of environmental crime prevails in “green criminology”, encompassing also those dimensions of damage, injustice and social harm often neglected by criminal law and by the criminal justice system. Through this approach, we will explore a situated environmental scenario: Huelva, a town in southern Spain, heavily polluted by a huge industrial and chemical plant established during the 1960s and built in close proximity to the town. We shall examine this case of environmental crime through a still unfolding criminological perspective, identifying the theoretical issues encountered and the methodological approaches to be taken when studying an ongoing case of conflict and of environmental crime. The ethnographic research I present also employs “photo-elicitation interviews” as a new source of qualitative data for criminology applied to the environmental field. It opens some “sensitizing” dimensions on socio-environmental conflict and environmental crime that may also prove useful when observing the “sensitive environments” of other realities.

This thesis explores how burglars and burglary in London were understood in cultural, criminological, legal, political, and economic discourse during the period 1860-1939, demonstrating how the ideas about crime and the criminal circulating in these domains were mutually constitutive. Specifically, it identifies how characterisations of burglary in visual and written forms of media — encompassing legal and criminological documents, as well as those produced by the press and commercial advertising, and in fiction, theatre, and film — cultivated a range of attitudes towards the crime to a greater or lesser extent. Encompassing not only fear-mongering and sympathetic representations, but also those designed to be exciting, to challenge preconceptions, and to entertain, I argue that these conflicting attitudes towards burglary and burglars emerged in response to specific changes in the cultural landscape: the advent of mass literacy and corresponding interest in narratives of crime that reflected the social, cultural, and political concerns of an audience diverse of class, age, and gender; the commercial imperatives of the insurance and entertainment industries as the middle classes expanded, including the development of household insurance and the popularity of the ‘true crime’ genre; debates surrounding women’s increasing social and sexual agency and their alignment with particular crimes; and the evolution of new modes of policing and regulation. The thesis thereby uses the topic of burglary to illuminate a broader range of contemporary preoccupations and experiences with gender relations, class structures and stereotypes, and the moral authority of state and society. By approaching burglary as a focus of interactions not only between police, criminal, and victim, but also between the market, consumers, and the state, this thesis uncovers new terrain upon which crime intersected with everyday lives historically.

Syftet med denna uppsats är att undersöka vilka berättarkomponenter som skaparna av The Keepers använder i serien, hur de fungerar tillsammans och hur de möjliggör ett långt dokumentärt berättande. För att komma fram till ett resultat har vi gjort en narrativ analys och en visuell narrativ analys med hjälp av teorier som diskuterar filmatiseringar, animationer, modus och dramaturgi. Resultatet visade att kombinationen av ett klassiskt dramaturgiskt berättande tillsammans med moderna berättarkomponenter i The Keepers skapar spänning och engagerar tittaren i det långa berättandet. Kombinationen av berättarkomponenterna gör att avsnitten hänger ihop väl och leder tittaren framåt genom alla sju avsnitt och serien.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2007<br>Bibliografia: f. 60-63<br>O presente trabalho de pesquisa propõe uma abordagem de representação e análise de cenários de crimes através de modelos tridimensionais. Esta metodologia tem a finalidade de auxiliar o entendimento do judiciário em relação aos laudos periciais relativos<br>This research project presents a method for crime scenes representation and analysis through tridimensional models. This method intend to provide a better understanding about the findings to the judiciary staff. In this methodology crime scene is rebuilt

Background: In 2007 the population density for the Gauteng Province was 614 persons per km2 and in the Northern Cape Province it was 2.9 persons per km2 . High population density leads to an increase in crime. This was evident in the percentage distribution of total crime reported from 2000 to 2003 of 27.4% in Gauteng Province, while the percentage distribution of total crime reported in the Northern Cape for the same period of time was 2,8%. Stress and insomnia can be caused by crime which is influenced by population density. Crime and high population density, may cause stress and fear, which may lead to insomnia and anxiety, which in turn may lead to an increase in benzodiazepine usage. Objective: The general objective of this study was to investigate the benzodiazepine usage in the private health care sector in South Africa based on age, sex, geographical areas, prescriber type and days between refills. Methods: The data were obtained from a medicine claims database of a pharmacy benefit management company covering the periods from 1 January 2006 to 31 December 2006 and 1 January 2008 to 31 December 2008. The statistical analysis was performed by making use of the Statistical Analysis System®. A drug utilisation review was performed. Results: Patients claiming benzodiazepines represented about 7.25% of all patients in total database in 2006 and 7.97% in 2008. Female patients claimed more benzodiazepines than male patients in both Gauteng (67.24% in 2006 & 67.36% in 2008 respectively) and Northern Cape Province (67.77% in 2006 & 67.70% in 2008 respectively). Patients aged 40 years to 65 years claimed the highest number of benzodiazepine items, while patients younger than 12 years claimed the lowest number of benzodiazepine items. The number of patients that claimed benzodiazepines in the Northern Cape was lower than those in Gauteng. The percentage of patients that claimed benzodiazepines in 2006 was 7.91% in Gauteng versus 8.96% in Northern Cape. In 2008 the percentage of patients that claimed benzodiazepines was 8.47% in Gauteng versus 9.51% in Northern Cape. The percentage of benzodiazepine prescriptions claimed in Gauteng was 4.79% in 2006 and 5.10% in 2008. In the Northern Cape the percentages of benzodiazepine prescriptions claimed in 2006 and 2008 were 4.62% and 4.30% respectively. General medical practitioners prescribed most of the benzodiazepine prescriptions in both Northern Cape and Gauteng Province. Trade name products that were mostly prescribed in the Gauteng was Adco–Alzam® 0.5 mg and in the Northern Cape it was Brazepam® 3 mg for both 2006 and 2008. Conclusion: The difference in the prescribing patterns of benzodiazepines in Gauteng and the Northern Cape was not statistically significant. Recommendations for future research were made.<br>Thesis (M.Pharm (Pharmacy Practice))--North-West University, Potchefstroom Campus, 2011.

Esta pesquisa insere-se no campo de discussão da Antropologia Urbana e Visual. Busquei conhecer a composição de redes de solidariedade de emergência formadas como alternativa para enfrentar a situação de crise advinda da enchente de 2008 no Vale de Itajaí, SC. A enchente vivenciada propiciou a emergência de novas redes de interação e sociabilidade que podem ser definidas como relações de reciprocidade e solidariedade entre os indivíduos envolvidos. A construção dessas redes de solidariedade de caráter emergencial está fundamentada teoricamente na perspectiva de Larissa Lomnitz que, ao estudar comunidades populares, destacou sua centralidade constituída sobre o sistema de reciprocidade em que predominavam vínculos horizontais enquanto estratégia de sobrevivência. A etnografia da duração orienta a pensar acerca das trajetórias pessoais e coletivas que configuram as temporalidades da cidade, os tempos de crise e de continuidade da população vitimada.<br>This research belongs to the debating field of Urban and Visual Anthropology. I studied the configuration of solidarity networks of emergency formed as alternatives to face the situation of crisis originated in the 2008 flood (Vale de Itajaí, SC). The flood disposed those who lived it to develop new networks of interaction and sociability, which may be defined as relations of reciprocity and solidarity. The construction of these solidarity networks having an emergency character is based theoretically on Larissa Lomnintz‟s perspective, who highlighted its centrality studying popular communities. This character is constituted upon a system of reciprocity in which horizontal ties, as a surviving strategy, are predominating. The ethnography of the duration guides us to think personal and collective trajectories, which forms the temporalities of the city, the times of crisis and the continuity of the victimized population.

Cette thèse, menée de manière chronologique, examine les questions du lieu et de l’espace dans l’œuvre picturale et textuelle de l’artiste d’origine irlandaise William Orpen (1878-1931).Cette recherche se fonde sur les résultats de différents types d’approche (histoire de l’art, critique littéraire, philosophie, psychologie, sociologie). Son objectif est de mettre en lumière la question de l’origine, synonyme pour Orpen de séparations, de fractures et de ruptures de toutes sortes. Il est également de montrer que les idées de lieu et d’espace ne sont pas étrangères à celles d’entre-deux : à cheval sur deux siècles et sur deux pays (l’Angleterre et l’Irlande) lors d’une période de profonds changements, Orpen était, dans sa pratique littéraire et artistique, à mi-chemin entre tradition et modernité, entre unité et fragmentation, entre centre et périphérie. De la tension entre ces différents pôles résulta inévitablement une crise pour le portraitiste mondain qu’il fut d’abord, puis pour le peintre de guerre officiel qu’il devint en France en 1917 — crise qui exigea qu’il fît des choix, qu’il quittât sa « place au soleil » pour se diriger vers un ailleurs incertain. Cette crise, caractéristique de la période moderne, concerna la représentation visuelle et textuelle, mais fut également humaine, politique, sociale, morale et religieuse.Nous proposons de montrer qu’Orpen n’eut de cesse d’explorer la condition de l’homme moderne, de se rendre attentif aux multiples manifestations de l’ordre et du désordre, aux conflits de l’espace et du vide, à la conciliation de la permanence et de la métamorphose, au combat de l’ombre et de la lumière, aux rapports entre réel et imaginaire, au jeu multiforme des polarités<br>Conducted chronologically, this thesis examines questions of place and space in the pictorial and textual work of the Irish-born artist William Orpen (1878-1931).This research is based on the results of different types of approach (art history, literary criticism, philosophy, psychology, sociology). Its aim is to shed light on the question of origin, which for Orpen is synonymous with separations, fractures and ruptures of all kinds. It also demonstrates that ideas of place and space are not foreign to those of in-betweenness: in-between two centuries and two countries (England and Ireland) during a period of deep change, Orpen was, in his literary and artistic practice, halfway between tradition and modernity, between unity and fragmentation, between centre and periphery. The tension between these different poles inevitably resulted in a crisis for the society portrait painter he was at first, and then for the official war painter he became in France in 1917—a crisis which required him to make choices, to leave his “place in the sun” and to head for an uncertain elsewhere. This crisis, characteristic of the modern period, concerned visual and textual representation, but was also human, political, social, moral and religious.I propose to show that Orpen never stopped exploring the condition of modern man, considering the multiple manifestations of order and disorder, the conflicts of space and emptiness, the reconciliation of permanence and metamorphosis, the struggle between light and shadow, the relationship between the real and the imaginary, the multiform interplay of polarities

Dans les années 2000, l’Europe connaît un afflux massif de migrants et de réfugiés en provenance d’Afrique et du Moyen-Orient. Au cours de la seule année 2015, considérée comme la plus meurtrière, on estime que plus de 1.2 million de personnes sont entrées dans l’espace Schengen et que 3.770 sont mortes avant d’atteindre les portes de l’Europe. Les médias se sont fait l’écho de cette situation en véhiculant des images qui sont devenues emblématiques de ce qu’on a appelé la « crise migratoire » et qui ont contribué à ranimer la longue tradition de la représentation visuelle de l’étranger dans la culture européenne. Les artistes ont répondu à leur tour à ces images, parfois controversées et génératrices d’émotions. Cette recherche vise à analyser la relation complexe et souvent ambiguë que les images médiatiques et artistiques entretiennent avec le phénomène migratoire contemporain et ses sujets. Plus précisément, elle se focalise sur la représentation des réfugiés et de la « crise migratoire » dans l’art européen entre les années 2007 et 2017. Cette décennie, durant laquelle se cristallisent les tensions entre les médias et les artistes, est celle où l’on observe une intensification importante et une diversification de modes d’engagement au sein de l’art à vocation humanitaire. Située au croisement de l’histoire de l’art, des études visuelles et de la sociologie des migrations, cette thèse identifie des types d’images et des références iconographiques exploités durant cette période par les médias et les artistes, afin de montrer la manière dont ils s’influencent mutuellement, dialoguent et façonnent les attitudes des Européens à l’égard de la « crise migratoire » et de l’accueil des réfugiés. Le but principal de l’étude est de cartographier les tendances dominantes dans ces deux champs en portant une attention particulière à l’activité des artistes communément définis comme engagés ou militants, qui adoptent des stratégies esthétiques très diverses allant de la provocation à l’écoute, en passant par la médiation entre les nouveaux arrivants et les citoyens. Il s’agit donc d’examiner comment l’art contemporain et les médias définissent et représentent l’hospitalité européenne et, par quels moyens les artistes tentent de transformer l’art en un espace d’hospitalité et de dialogue capable d’influencer les sociétés actuelles. La thèse aborde des questions clés liées à l’expérience de l’exil et à l’accueil des étrangers, telles que la frontière comme lieu de la négociation de l’identité, la spectralité du réfugié, l’hostilité ouverte versus l’hospitalité inconditionnelle, ou encore l’importance de la langue et du témoignage dans le processus d’intégration du réfugié à sa société d’accueil. Chacun de ces aspects de la réalité migratoire européenne est présenté à travers quelques œuvres d’art et examiné avec les outils analytiques provenant notamment des études visuelles (Jill Bennett, Nicholas Mirzoeff, Ariella Azoulay). La réflexion sur le potentiel analytique de l’esthétique migratoire — selon le terme proposé par Mieke Bal —, présente en toile de fond de ce travail, se conclut par quelques propositions concernant le rôle et l’importance d’un éventuel tournant migratoire dans l’histoire de l’art. La thèse s’appuie aussi sur des éléments de la philosophie de Jacques Derrida, jugés particulièrement pertinents pour la réflexion sur la dimension éthique de la représentation des réfugiés. Cette recherche, enfin, entend contribuer au développement de l’approche interdisciplinaire dans l’étude de l’art contemporain qui se focalise sur les problèmes sociétaux importants et cherche à participer activement au débat public<br>In the 2000s, Europe has experienced a massive influx of migrants and refugees from Africa and the Middle East. In 2015, considered the deadliest year, it is estimated that more than 1.2 million people entered the Schengen Area and 3,770 died before reaching the gates of Europe. The media echoed this situation by conveying images that became emblematic of the so-called "migration crisis" and contributed to reviving the long tradition of visual representation of the stranger in European culture. Artists responded to these images, which were sometimes controversial and generated emotions. This research aims to analyse the complex and often ambiguous relationship that the media and artistic images have with the contemporary migration phenomenon and its subjects. More specifically, it focuses on the representation of refugees and the "migration crisis" in European art between 2007 and 2017. During this decade, tensions between the media and artists crystallize and one can observe a significant intensification and diversification of modes of engagement within the field of human rights-oriented art. Situated at the intersection of art history, visual studies and the sociology of migration, this thesis identifies the types of images and iconographic references exploited during this period by the media and artists in order to demonstrate how they influence each other and shape the attitudes of Europeans towards the "migration crisis" and the reception of refugees. The main aim of this research is to map the dominant tendencies in both fields. Particular attention is given to the activity of artists commonly defined as socially engaged or militant, who adopt a wide range of aesthetic strategies, from provocation to listening, passing through mediation between newcomers and citizens. It is thus a question of examining how contemporary art and the media define and represent European hospitality, and the methods employed by artists to transform art into a space of hospitality and dialogue capable of influencing today's societies. This thesis addresses key issues related to the experience of exile and the reception of migrants, such as the border as a place of identity negotiation, the spectrality of the refugee, open hostility versus unconditional hospitality, or the importance of language and testimony in the process of integration of the refugee into his or her host society. Each of these aspects of the European migratory reality is presented through a few works of art and examined with analytical tools coming notably from visual studies (Jill Bennett, Nicholas Mirzoeff, Ariella Azoulay). The reflection on the analytical potential of migratory aesthetics (the term proposed by Mieke Bal) forms the backdrop to this work. It concludes with some proposals concerning the role and importance of a possible migratory turn in art history. This thesis also draws on elements of Jacques Derrida's philosophy which are considered particularly relevant to the reflection on the ethical dimension of the representation of refugees. Finally, this research intends to contribute to the development of an interdisciplinary approach in the study of contemporary art that focuses on important social issues and seeks to participate actively in public debate

This thesis concerns how murdered women and their bodies are represented through written and visual language in tabloid crime journalism. Two Swedish high profile murders were chosen through a purposeful sampling, and 436 articles from Sweden's two largest tabloid newspapers, Aftonbladet and Expressen, were thematized through Thematic Analysis. After that, a smaller sample was analyzed in depth through Critical Discourse Analysis and Multimodal Visual Analysis. The results show that murdered women and their bodies are represented as both subjects, objects and abject. However, when constructed as a social subject through personal traits and agency, the personalities of the murdered women were also used to establish a normative objectification of how women ought and ought not to behave. Furthermore, the material body as an object was visually absent from the material but made visible through detailed and repetitive descriptions of violence and interdiscursive connections to popular culture. Consequently, the abject body produced fear within society, but also provided an arena for a shared identity and the restoration of social order, through extensive portrayals of public grief and thorough media coverage of the legal process.             These results contribute both new knowledge and the suggestion of a suitable theoretical framework for further academic research. Hopefully, these findings will also result in an academic, as well as a professional, discussion regarding the current mediated discourse within crime journalism.

The purpose of this project is to ascertain the ways in which Orange is the New Black uses its platform to either complicate or reify narratives about the prison system, prisoners and their relationship to the state. This research uses the works of Giorgio Agamben, Colin Dayan, Michelle Alexander and Lisa Guenther to situate the ways the state uses the prison and social narratives about the prison to extend its control on certain populations beyond prison walls through police presence, parole, the war on drugs and prison fees. From that basis, this work argues that while Orange does challenge some narratives about race and sexuality, because of its reliance on “bad choices” as a humanizing trope and its reliance on certain racialized stereotypes for entertainment, the show ultimately does more to reify existing narratives that support state interests.

The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history. Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.

碩士<br>國立中央大學<br>企業管理學系<br>105<br>根據經濟部統計，2014年我國酒類總供給量超過7億公升，其中無論是國產或進口酒類，消費量皆高達7成以上。根據財政部電子發票整合服務平台統計，2015年B2C電子發票開立張數已達到48.2億張，各縣市開立發票累計金額更高達約兩兆零五十五億元，其中酒類消費總金額佔其中的171.4億元。有鑑於酒類飲品取得容易，來自於環境、文化、氣氛、同儕與可支配所得等因素，使得酒精的攝取與消費力逐年提升，雖帶來經濟上可觀的收益，但過多的酒精攝取仍會造成生活中的影響，小則自身健康，大則帶來社會問題或犯罪行為產生。過去未有研究使用電子發票來做酒類消費與犯罪率之分析，主要多以市場調查或問卷資料來進行相關之研究，所以此次藉由財政部財政中心提供的電子發票資料與政府公開平台資料，取得酒類消費與犯罪統計資料進行資料視覺化分析。根據本研究發現，除了離島地區因興建觀光酒廠而消費金額眾多，台灣北部區域每人平均酒類消費總金額皆高於南部地區，南北差異可以見得；從熱圖分析觀看各縣市犯罪率，北部地區與南部地區在搶奪與汽車竊盜犯罪率上則無明顯南北差異，其餘犯罪類型中，北部地區之犯罪率皆較高於南部地區。從圓視圖分析觀看台灣各區域分布縣市犯罪類型之犯罪率多寡，發現毒品犯罪率為各縣市之冠，搶奪、強盜與強制性交犯罪率則為較低。最後，資料視覺化探勘發現住宅竊盜、機車竊盜與毒品犯罪率與酒類消費有直接的關聯性，因此並不是所有的犯罪類型皆與酒類消費有直接相關。利用資料視覺化分析電子發票可使巨量的資料快速地進行歸納統整，並且提供決策者以最直覺的方式，使用圖像直接了解資訊所傳遞的內容，冀望本研究可以提供政府制定酒類相關政策參考。

Data Science and Machine Learning are two valuable allies to fight financial crime,the domain where Feedzai seeks to leverage its value proposition in support of its mission:to make banking and commerce safe. Data is at the core of both fields and this domain, sostructuring instances for visual consumption provides an effective way of understandingthe data and communicating insights.The development of a solution for each project and use case requires a careful andeffective Machine Learning Model Evaluation stage, as it is the major source of feedbackbefore deployment. The tooling for this stage available at Feedzai can be improved,accelerated, visually supported, and diversified to enable data scientists to boost theirdaily work and the quality of the models.In this work, I propose to collect and compile internal and external input, in terms ofworkflow and Model Evaluation, in a proposal hierarchically segmented by well-definedobjectives and tasks, to instantiate the proposal in a Python package, and to iteratively val-idate the package with Feedzai’s data scientists. Therefore, the first contribution is MevaL,a Python package for Model Evaluation with visual support, integrated into Feedzai’s DataScience environment by design. In fact, MevaL is already being leveraged as a visualization package on two internal reporting projects that are serving some of Feedzai’s majorclients.In addition to MevaL, the second contribution of this work is the Model EvaluationTopology developed to ensure clear communication and design of features.<br>A Ciência de Dados e a Aprendizagem Automática [277] são duas valiosas aliadas no combate à criminalidade económico-financeira, o domínio em que a Feedzai procura potenciar a sua proposta de valor em prol da sua missão: tornar o sistema bancário e o comércio seguros. Além disso, os dados estão no centro das duas áreas e deste domínio.Assim, a estruturação visual dos mesmos fornece uma maneira eficaz de os entender e transmitir informação.O desenvolvimento de uma solução para cada projeto e caso de uso requer um estágiocuidadoso e eficaz de Avaliação de Modelos de Aprendizagem Automática, pois esteestágio coincide com a principal fonte de retorno (feedback) antes da implementaçãoda solução. As ferramentas de Avaliação de Modelos disponíveis na Feedzai podem seraprimoradas, aceleradas, suportadas visualmente e diversificadas para permitir que oscientistas de dados impulsionem o seu trabalho diário e a qualidade destes modelos.Neste trabalho, proponho a recolha e compilação de informação interna e externa, em termos de fluxo de trabalho e Avaliação de Modelos, numa proposta hierarquicamente segmentada por objetivos e tarefas bem definidas, a instanciação desta proposta num pacote Python e a validação iterativa deste pacote em colaboração com os cientistas de dados da Feedzai. Posto isto, a primeira contribuição deste trabalho é o MevaL, um pacote Python para Avaliação de Modelos com suporte visual, integrado no ambiente de Ciência de Dados da Feedzai. Na verdade, o MevaL já está a ser utilizado como um pacote de visualização em dois projetos internos de preparação de relatórios automáticos para alguns dos principais clientes da Feedzai.Além do MevaL, a segunda contribuição deste trabalho é a Topologia de Avaliação de Modelos desenvolvida para garantir uma comunicação clara e o design enquadrado das diferentes funcionalidades.

“…those who think they deserve to be pitied (and to be pitied on certain grounds) are unworthy to attain it and worthy not to attain it, it is impossible for pity to be felt." – Aristóteles (2007, p. 144) Neste novo milénio é indiscutível que a perceção pública de qualquer organização irá moldar o seu futuro. Numa cultura de transparência onde todo o negócio necessita de saber informar os seus stakeholders por forma a se manter vivo, a comunicação é vital para o seu desenvolvimento económico. Este projeto de estudo/investigação propõem-se procurar uma nova perspetiva sobre a qual a comunicação institucional das organizações não-governamentais (ONGs) possa ser realizada. Atualmente a comunicação desenvolvida por estas organizações é em grande parte norteada pelo paradigma de fomentar na audiência um determinado leque de ideias que a levem a aderir à sua mensagem sob pena de experienciarem sentimentos negativos, como a culpa, o medo, etc. Este tipo de comunicação desencadeia no indivíduo em particular e na sociedade em geral um fenómeno definido por Luc Boltanski (2004) como “crise da piedade”, em que o indivíduo começa considerar que pouco ou nada pode fazer para ajudar aqueles em sofrimento, acabando por desenvolver uma certa dessensibilização para com a publicidade que apela à pena ou à empatia. É então fundamental entender quais os mecanismos que desencadeiam esta situação e quais aqueles que podem ser usados para resolver a tendência.<br>“…those who think they deserve to be pitied (and to be pitied on certain grounds) are unworthy to attain it and worthy not to attain it, it is impossible for pity to be felt." – Aristóteles (2007, p. 144 In this new millennium it is agreed that the publics perception of any organization will mold its future. In a transparency culture where every business needs to know how to inform its stakeholders in order to stay alive, communication is vital for economic development. This project of study/investigation proposes to look for a new perspective on which institutional communication of non-governmental organizations (NGOs) can be developed. Currently the communication created by these organizations is mainly guided by the notion that it needs to inspire in its audience an array of ideas that will push them to follow the organizations message under penalty of experiencing negative feelings like guilt, fear, etc. This communication process creates in the individual in particular and in society in general a phenomenon defined by Luc Boltanksi (2004) as a “crisis of pity”, in which the individual starts to consider that he can do little or nothing to help those in suffering, and eventually develops a desensitization towards advertisements that aim to produce feelings like pity or empathy. So, it is fundamental to understand which mechanisms create this situation in human psyche and discover ones that can be used to solve it.

In The Frame 'Violence fascinates us because it is deemed unacceptable by society and therefore the people who commit violence are breaking our self- imposed rules, rules that underpin the very notion of civilisation. Rule breakers make us curious: Why don't they want to be like us?Various analytic and discursive theoretical texts that address the formal structuring and underpinning themes of crime fiction have also informed my determination of the genre as a fertile subject for visual interpretation. These examinations categorise and notify the literary product as both a fictional container for the descriptive narration of assorted acts of malfeasance and murder and their consequences, and a point-the-way mirror to the real-time dynamics contemporary to its telling.

A presente tese de dissertação envereda pela análise semântica das imagens metafóricas da crise económica na blogosfera, bem como em sites de economia, à luz da abordagem cognitiva. Na base desta abordagem, preconiza-se que o significado linguístico é claramente condicionado pelas dimensões da experiência humana, ou seja, pela situação económica de crise e suas consequências a nível global. Na base do enfoque cognitivo, as imagens metafóricas da crise económica foram analisadas por diversos autores como realizações de três domínios-fonte, da GUERRA, da DOENÇA e da CATÁSTROFE NATURAL. Um estudo mais recente, as metáforas multimodais em cartoons editoriais representando a crise económica da autoria de Bounegru/Forceville (2011) destacou três domínios-fonte, a saber, CATÁSTROFE/DESASTRE NATURAL; DOENÇA/MORTE e IMPLORAR. A presente investigação teve por objetivo desconstruir 30 cartoons sobre a crise económica à luz das metáforas multimodais, enquanto ferramentas de tradução num mundo globalizado. Assim sendo, foi apurada a vigência de duas metáforas multimodais dominantes, CRISE ECONÓMICA É CATÁSTROFE NATURAL e CRISE ECONÓMICA É QUEDA, a partir das quais se estabelece uma plataforma de entendimento desta situação dramática, transversal a diversas línguas e culturas.<br>The present dissertation deals with the semantic analysis of multimodal metaphoric elaborations images portraying the economic crisis situation in the blogosphere and in economic websites in the light of the cognitive approach. Hence, under the lens of this paradigm it is argued that conceptual meaning is undissociable from life experiences of the financial crisis and its consequences at a global scale. From the cognitive perspective, metaphoric images depicting the economic crisis were analysed by several authors, arriving at the conclusion that their source domains were WAR, ILLNESS and NATURAL CATASTROPHE. In a more recent study, multimodal metaphors in editorial cartoons representing the economic crisis by Bounegru/Forceville (2011) three main source domains of metaphorical mappings stood out, namely CATASTROPHE/(NATURAL) DISASTER; ILLNESS/DEATH and BEGGING. The focus of the present dissertation lies upon the deconstruction of multimodal metaphors displayed in economic crisis cartoons, which arguably operate as translation tools in a globalized world. Two dominant multimodal metaphors have emerged ECONOMIC CRISIS IS NATURAL CATASTROPHE and ECONOMIC CRISES IS FALLING DOWN, from which this dramatic situation can be cross-culturally understood.

The literature on dynamic capabilities is lagging behind on case studies that can assist the strand in achieving theory status. Therefore, this thesis’ contribution is a case study of Danfoss and the impact of its Core & Clear strategy, which the company implemented in the aftermath of the GFC. The research examines, firstly, if Danfoss improved its financial performance in 2020 (the COVID-crisis) compared to 2009 (the GFC) before the Core & Clear strategy was implemented in 2010. I also take the preceding years for each crisis into account, making the entire period of analysis span from 2000 to 2020. Here I find that the Core & Clear strategy is correlated to improvements in all variables that relate to efficiency and profitability, meanwhile, revenue growth was worsened. Secondly, I inspect Core & Clear’s impact on Danfoss’ dynamic capabilities. Based on semi-structured interviews, I conclude that Danfoss improved all propensities of dynamic capabilities based on Barreto’s (2010) definition. Lastly, I triangulated these conclusions with third-party experts, which supported that Danfoss’ Core & Clear strategy would have improved the company’s ability to handle the COVID-crisis. The implication of the research is, firstly, a support of the links from dynamic capabilities to profitability and efficiency. Secondly, I find that dynamic capabilities are important for Danfoss’ industry and environment, contributing to a resolution of these disputes in academia. Lastly, further research would enrich the literature by substantiating these findings through other methods such as longitude, comparable research designs and observational studies.<br>A literatura sobre capacidades dinâmicas está atrasada em casos de estudo que permitam suportar uma posição teórica. Consequentemente, esta tese fornece um contributo baseado no caso de estudo sobre a Danfoss e a sua estratégia Core & Clear, que foi implementada pós crise financeira global. A pesquisa examina, primeiramente, se a Danfoss melhorou a sua performance financeira em 2020 (crise COVID) comparativamente a 2009 (crise global financeira), antes da estratégia Core & Clear ter sido implementada em 2010. Tenho também em consideração os anos precedentes a cada crise, fazendo a minha análise entre 2000 e 2020. Aqui, encontro que a estratégia Core & Clear alcançou melhorias em todas as variáveis relativas a eficiência e rentabilidade, enquanto o crescimento de receitas foi afetado. Seguidamente, analiso o impacto da Core & Clear nas capacidades dinâmicas da Danfoss. Baseado em entrevistas semiestruturadas, concluo que a Danfoss melhorou todas as suas capacidades dinâmicas, segundo a definição de Barreto (2010). Por último, triangulei estas conclusões com especialistas independentes, que defendem que a Core & Clear teria melhorado a capacidade da empresa em lidar com a crise COVID. A implicação da pesquisa é, primeiramente, o sustento das ligações entre capacidades dinâmicas e eficiência e rentabilidade. De seguida, encontro evidências de que as capacidades dinâmicas são importantes para a indústria e ambiente da Danfoss, contribuindo para uma resolução destas disputas académicas. Por fim, uma pesquisa exaustiva iria enriquecer a literatura ao substanciar estas conclusões através de outros métodos, como longitude, projetos de pesquisa comparáveis e estudos observacionais.