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Dissertations / Theses on the topic 'Dream space'
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Toth, Benjamin. "Dream space." Diss., Connect to the thesis, 2001. http://thesis.haverford.edu/2/01/2001TothB.pdf.
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Gentry, Angela S. "Dream Scythe." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245273888.
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Warpas, Katarzyna Bogusława. "Designing for dream spaces : exploring digitally enhanced space for children's engagement with museum objects." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/304817.
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This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.
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Colvin, Kyle Luke. "On the feasibility of landing the dream chaser space vehicle in South Africa." Master's thesis, Faculty of Engineering and the Built Environment, 2021. http://hdl.handle.net/11427/33609.
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The Dream Chaser is a space vehicle currently under development by the Sierra Nevada Corporation for purposes of carrying humans and cargo to low Earth orbit. In 2016, the United Nations entered into an agreement with Sierra Nevada Corporation to fly experimental payloads on the Dream Chaser. The collaborative UNOOSA-SNC Dream Chaser mission will be approximately two to three weeks in duration, with the Dream Chaser orbiting Earth at an altitude of 500 km with an inclination of 0 − 35◦ . This will be the first space mission dedicated to attaining the Sustainable Development Goals. In this investigation the South African space and aerospace industry is placed under the microscope for the purpose of studying the feasibility of landing the Dream Chaser Space Vehicle on South African soil. The research dictates possibly having to establish a dualuse airport/spaceport recognised by the South African Space Council under supportive legislation to support this mission. Elements addressed in this investigation range from physical facilities such as the airports, workshops and laboratories through Dream Chaser specific requirements and specifications, right down to space and civil aviation regulations. This dissertation will assess all available infrastructure and supporting entities that will facilitate the safe landing of the Dream Chaser space vehicle in South Africa. However site visits and interviews were not part of this investigation. This investigation prefaces the University of Cape Town's Space Lab plans to submit a landing proposal for a possible alternative landing site(s) for the Dream Chaser outside of the USA. This report is the first major step in researching and documenting the potential for landing the Dream Chaser or any reusable space vehicle in South Africa and will therefore make the case for South Africa as a suitable and attractive landing destination, not just for the Dream Chaser, but for accompanying scientists and researchers from all over the world involved in the mission.
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Törnqvist, Felix. "The Dream of the Garden City : representations of space as a means of resistance." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-80699.
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Uppsatsen undersöker och beskriver motstånd motförtätning i Stora Mossen, en välbeställd villaförort angränsande Stockholms innerstad. Materialet speglas i relation till fysisk plats (space), hur motstånd skapas och rättfärdigas i samspel med omgivningar och de sociala förutsättningar som sätts utav dem. Motståndet är som sådant en spegling av det liv och de förutsättningar som existerar i Stora Mossen med omnejd, och står därmed inte nödvändigtvis i relation till staden eller länet i stort. Underlaget är inhämtatunder vintern 2011/2012 och består av offentligt material från kommunala utskott, kontor och styrelser; skriftliga klagomål från och halvstrukturerade intervjuer med närboende samt observationer utförda på plats.<br>Thesis concern local resistance to densification projects in Stora Mossen, a well-off suburb to Stockholm. The material shows how resistance is formed and shaped in relation to space, as a part of life and the economic and social situation of the concerned area as opposed to the metropolitan area at large. Source material consists of public material, written complaints, semi-structured interviews with informants as well as field observations performed during the winter 2011-2012.
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Klyukovski, Andrew A. "The space race as the American dream : fantasy theme analysis of the New York Times' coverage /." free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3060115.
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Fujita, Kento. "The Mukai conjecture for log Fano manifolds." 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/188459.
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Younan, Sarah. "Towards a digital dream space : how can the use of digital 3D scanning, editing and print technologies foster new forms of creative engagement with museum artefacts?" Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/7994.
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This thesis describes research into the creative use of digital three-dimensional (3D) technologies in museums. It examines how digital 3D reproductions of museum artefacts support creative engagement and enhance museum experience. Digital 3D models of museum artefacts are malleable; they allow users to create new artworks through digital manipulation and transformation. 3D printing technologies enable users to translate digital 3D models directly into physical forms. This research investigates how these technologies can impact on museum engagement and makes recommendations for museums exploring the possible uses of digital 3D technologies. A contextual review, informed by ongoing developments in the field of digital heritage and a critical review of published literature, identifies key issues examined in the research. These include the ways in which reproductive digital 3D technologies can foster unprecedented audience access to museum collections, democratise art interventions in museums and engage with the museum ‘dream space’. The rationale for the use of qualitative research methods in the study is explained and the case studies undertaken during the research are described. The investigation of artworks created by participants in the case studies; data from interviews with artists, museum staff and museum visitors, provide insights into how digital 3D reproductions foster new experiences with museum artefacts. In this research, reproductive digital 3D technologies are shown to support creative forms of museum engagement, to democratise museum interventions and increase public access to museum collections. They engage users with personal and subrational forms of museum experience. Furthermore, the use of digital technologies in museums has been shown, in this research, to trigger learning experiences and increase historical awareness and digital literacy. Recommendations are made for institutional approaches to the use of digital 3D technologies and for future research in the area of creative engagement with digital heritage.
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Goss, Scott. "When I'm Not Here." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397773821.
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Jaguste, Rohan. "Dream Space - Introducing sustained and unbiased development of quality of life in the underprivileged regions of the world : Investigating radical approaches to improve the access to potable water, sanitation and cooking fuel in the underprivileged regions around the world." Thesis, Konstfack, Industridesign, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3194.
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There are many parallels between living in outer space and living in underprivileged regions here on earth. Both have limited supply of water and food, among other resources – both are resource-poor systems. Can we then apply the billion dollar studies made for living in outer space, to improve the life of a billion people here on earth?
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Heckel, Nicolas. "Le rythme de la figuration." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10118.
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Cette étude vise à développer la notion de figuration hors des jalons établis par les sciences de l’image et du langage, sans remettre en question les domaines spécifiques de l’iconologie et de la sémiologie. Elle s’appuie pour cela sur deux champs d’investigation principaux : l’expérience de la peinture, poïétique et esthétique, et la philosophie. Il s’agit plus précisément d’amener l’expérience intime du faire, du voir et du faire-voir, à l’éclaircissement d’une certaine conscience figurale : que signifie « représenter » pour la conscience créatrice ? Quels processus psycho-sensoriels sont en jeu dans l’acte de figurer ? Comment définir la liberté d’action du peintre face, d’un côté, à sa part d’inconscience, et, de l’autre, au déterminisme de l’imitation ?Il ne s’agit donc pas d’étudier la peinture figurative, par opposition à la peinture abstraite, gestuelle, informelle…, mais la tendance intime qui, dans n’importe quel tableau, donne à voir des configurations. Une figure peut être fidèle aux apparences, tout juste allusive ou totalement détachée du monde visible (comme un cercle parfait ou une simple tache de peinture), elle détient toujours une puissance d’évocation, ainsi qu’une capacité à se conglomérer avec d’autres et à inspirer des rapports logiques. Figurer ne signifie pas clicher le monde visible, mais, d’une manière qui reste encore à définir, laisser émerger des schèmes animés, favoriser le surgissement de motifs imaginaires ; entités primitives, identitaires, fondatrices de notre mode d'habitation du monde<br>This study is aimed to develop the notion of representation beyond the reference points established by the image and the language sciences, without challenging the specific fields of iconography and semiology. It is based on two main domains of investigation : painting experiment, both poïetic and esthetic, and philosophy. More precisely, it consists in bringing the intimate consciousness of making, seeing and making someone see to the clarification of a kind of figurative awareness : what does « representing » mean to the creative consciousness ? Which psycho-sensorial processes are in play in the action of representing (i-e painting recognizable shapes) ? How could we define the painter’s freedom of action in relation to, on the one hand, his/her unconsciousness and, on the other hand, the determinism of imitation ?Thus, this work is not about studying representational painting, as opposed to abstract, informal or action painting, but the intimate tendency which, in any painting, shows outlines. A figure may be true to life, hardly allusive or totally unconnected to the visible world (like a perfect circle or just a paint spot), it always has an evocation power, as well as an ability of mixing with other figures and inspiring logical links. Representing does not mean taking a picture of the visible world but in a way that still has to be defined, it means enabling alive schemes to appear, encouraging the springing up of imaginary designs, primitive, identifying, founding entities of the way we live in this world
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Winn, Dorothy. "Mori dream spaces as fine moduli of quiver representations." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3367/.
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Mori Dream Spaces and their Cox rings have been the subject of a great deal of interest since their introduction by Hu–Keel over a decade ago. From the geometric side, these varieties enjoy the property that all operations of the Mori programme can be carried out by variation of GIT quotient, while from the algebraic side, obtaining an explicit presentation of the Cox ring is an interesting problem in itself. Examples include Q-factorial projective toric varieties, spherical varieties and log Fano varieties of arbitrary dimension. In this thesis we use the representation theory of quivers to study multigraded linear series on Mori Dream Spaces. Our main results construct Mori Dream Spaces as fine moduli spaces of ϑ-stable representations of bound quivers for a special stability condition ϑ, thereby extending results of Craw–Smith for projective toric varieties.
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Janardanan, Dipa. "Images of loss in Tennessee Williams's The glass menagerie, Arthur Miller's Death of a salesman, Marsha Norman's Night, mother, and Paula Vogel's How I learned to drive." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11122007-085911/.
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Thesis (Ph. D.)--Georgia State University, 2007.<br>Title from file title page. Matthew C. Roudane, committee chair; Pearl McHaney, Nancy Chase, committee members. Electronic text (208 p.) : digital, PDF file. Description based on contents viewed Feb. 28, 2008. Includes bibliographical references (p. 192-208).
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Keicher, Simon [Verfasser], and Jürgen [Akademischer Betreuer] Hausen. "Algorithms for Mori Dream Spaces / Simon Keicher ; Betreuer: Jürgen Hausen." Tübingen : Universitätsbibliothek Tübingen, 2014. http://d-nb.info/1162971371/34.
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Bäker, Hendrik [Verfasser], and Jürgen [Akademischer Betreuer] Hausen. "Quotients of Mori Dream Spaces / Hendrik Bäker ; Betreuer: Jürgen Hausen." Tübingen : Universitätsbibliothek Tübingen, 2014. http://d-nb.info/1162971312/34.
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Giuliano, Francesca. "Il lessico dell’apparenza in Thomas Hobbes. Questioni e sviluppi terminologici e concettuali." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040016.
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La présente thèse a pour objet l’étude d’une partie du vocabulaire hobbesien, que nous définirons ici comme lexique de l’ "apparence". Par le terme d’apparence, que nous utilisons en tant que catégorie conceptuelle, nous nous référons à la problématique philosophique, typique des XVIe-XVIIe siècles, qui met en lumière une conscience nouvelle de la nature de la perception sensible. L’apparence montre, d’un côté, l’existence réelle et objective d’un monde en mesure de déterminer la sensibilité ; de l’autre, la conscience que nos représentations ne nous livrent pas un portrait fidèle du monde. La réflexion de Hobbes s’insère à l’intérieur de ce contexte: considérant la sensation comme le stade initial de la connaissance, dont dérive l’entière vie psychologique du sujet, le philosophe réduit nos représentations à des apparences qui n’ont aucune réalité en dehors de notre esprit. Cette conception détermine l’utilisation d’une terminologie particulière dont Hobbes se sert pour traiter le complexe thème de l’apparence des phénomènes. Notre travail se propose de reconstruire la réflexion hobbesienne sur une telle problématique en privilégiant une approche de type lexicographique, fondée sur la vérification des occurrences et concordances (publiées dans le vol. 2), mais aussi conceptuel, à travers les entrées répertoriées à cet effet. La méthodologie choisie est celle d’un examen des écrits de Hobbes mené dans un sens diachronique, en partant du principe qu’il s’agit là de la seule façon de vérifier la modulation des entrées dans leurs différents contextes (de la physiologie de la vision au rêve) tout en éclairant la pertinence par rapport à Hobbes du thème de phénoménisme<br>This thesis aims at studying part of Hobbes’s vocabulary, that I define «lexicon of appearance». The word ‘appearance’, used as a conceptual category, refers to the philosophic problematic, greatly debated in the XVIth and XVIIth century, that highlights a new conscience of the nature of the sensitive perception. On one hand, the image appearance shows the real and objective existence of a world capable of defining sensitivity. On the other hand, it shows us that our representations do not always portray a faithful image of the world. Hobbes’s theory fits perfectly in this context: by considering sensitivity as the initial phase of our knowledge, by which our whole psychological life derives from, he reduces our representations into ‘appearances’ that only exist in our mind.This conception determines the use of a particular terminology that Hobbes uses to deal with the complex theme of the appearances of phenomena. This thesis aims at reconstructing Hobbes’s reflection by favouring a lexicographic approach, checking the material elements (occurrences and concordances, published in Vol. 2) aswell as the conceptual aspects of the entry words. The methodology chosen focuses on examining Hobbes’s lexicon in a diachronic fashion. I will assume that this is the only way to verify the words’ variations in the different contexts (from physiology of vision to dream) and highlight, at the same time, Hobbes’s relevance to ‘phenomenalism’
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Braun, Lukas Maximilian [Verfasser], and Jürgen [Akademischer Betreuer] Hausen. "Quotient Presentations of Mori Dream Spaces / Lukas Maximilian Braun ; Betreuer: Jürgen Hausen." Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/120442215X/34.
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Braun, Lukas [Verfasser], and Jürgen [Akademischer Betreuer] Hausen. "Quotient Presentations of Mori Dream Spaces / Lukas Maximilian Braun ; Betreuer: Jürgen Hausen." Tübingen : Universitätsbibliothek Tübingen, 2020. http://nbn-resolving.de/urn:nbn:de:bsz:21-dspace-976664.
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Fahrner, Anne-Kathrin [Verfasser], and Jürgen [Akademischer Betreuer] Hausen. "Smooth Mori dream spaces of small Picard number / Anne-Kathrin Fahrner ; Betreuer: Jürgen Hausen." Tübingen : Universitätsbibliothek Tübingen, 2017. http://d-nb.info/1196703264/34.
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Melia, Michael. "One startup's dream : an ethnography of a vision." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:bdad8068-57b1-47bd-b22c-1b93130b9fcb.
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This is the story of how four people invented a whole new world and way of life - and how they attempted to establish it across the globe. Copass, a Parisian startup consisting of four cofounders, aimed to connect hundreds of the world's shared workspaces under their new global federation. But the main objective of this startup, in contrast to most, was not to build capital. It was to build a universe: a future where white-collar workers would be liberated from the shackles of office life to work anywhere in the world, to meet exciting people and to have amazing experiences. Here, workdays were permanently mixed with holidays. Work was fun, workplaces were play-places and workers were adventurers. The ambition of these four cofounders was to turn the way they wanted things to be for them into the way things ought to be for everyone else. To turn their desired lifestyle into a global social movement that enrolled, as they saw it, hundreds of cities and thousands, tens of thousands, even millions of people. In short, they created a company to fulfil a dream. This is an ethnography of that one startup's dream, analysed at length to demonstrate innovative ways of worldmaking employed by an ambitious tech company seeking success. A company dissatisfied with the world that, instead of changing it, decided to create a new one.
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Lowes, Mark Douglas. "Indy dreams and urban nightmares, speed merchants, spectacle, and the struggle over public space." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0027/NQ51892.pdf.
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Blair, Anna Kate. "City full of dreams : colonial spaces and modernity in interwar Paris." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269939.
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This dissertation examines the role of modern design, architecture, and concepts in sites that linked Paris with France’s colonial empire in the interwar period. I argue that the colonies were a significant part of modern life in Paris, with efforts made to promote the use of colonial materials and motifs and regular attention to the colonies shown by the popular and architectural press. I look at the Grande Mosquée de Paris, colonial pavilions and themes in the 1925 Exposition Internationale des Arts décoratifs et industriels modernes, sections of the 1931 Exposition Coloniale featuring modern design and technology, the Musée Permanent des Colonies at the Palais de la Porte Dorée, and ways in which Parisian design and planning shaped the experiences of tourists in the colonies. I trace a cultural history of these spaces, examining their documentation and reception in the contemporary press, the role of modern architecture as a site for anti-colonial protest, and the relationship between sites representing the colonies and modern literature. This dissertation shows, through examination of colonial spaces and their representation in the media, that design and architecture served as a means of locating and fixing French identity both temporally and spatially.
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French, Francesca B. "People on the Edges of Dreams." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5170.
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This thesis is composed of a collection of twelve short stories, varying in length from 2 to 14 pages. Each story contains its own discrete theme, but fits as well within the overarching theme of the collection as a whole. This overarching theme is what gives the collection its cohesiveness. The main theme of the larger work can be found in the title of the collection, People on the Edges of Dreams. In many of the stories dreams, or dream-states, figure in the lives of the protagonists. In addition to the dream-state theme there is a less obvious theme, which has to do with the extent to which most or all of the main characters in the stories are faced with a kind of inescapable compassion for others. For example, the selfinvolved, self-gratifying protagonist in Matador cannot help but feel compassion first for Pearl, the woman he insults, and second for the "bums" on whom his livelihood depends. The theme of inescapable compassion can, I believe, be found to varying degrees in each of the stories in this collection.
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Barden, Abbey R. "Ignited Curiosity and Failed Dreams: Nineteenth-Century Masculine Fears of Females in Guy de Maupassant's 'Une Aventure Parisienne'and 'Le Signe'." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/31971.
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Guy de Maupassantâ s short stories â Une Aventure Parisienneâ and â Le Signeâ tell the tales of two female protagonists caught by curiosity. In â Une Aventure Parisienne,â a notaryâ s wife (the petite provinciale) leaves her home and ventures to Paris in search of an affair with a celebrity. After finding one and sleeping with him, the petite provinciale becomes disillusioned with her fantasy: she returns home deflated from the realization that her celebrity snores and drools just as her husband does. The high-society protagonist in â Le Signe,â Madame de Grangerie, is also disenchanted with her interest in imitating the gesture of a prostitute she notices across the street. When faced with a male client she frantically gives in to what she has offered. Needing to reaffirm her identity as an â honnête femme,â she solicits advice from her friend on what to do if the client returns. While both protagonists do not face legal punishment for their affairs, they do confront personal consequences. The petite provincialeâ s dreams about celebrities burst and Madame de Grangerieâ s reputation appears at risk. Maupassant not only comments on feminine curiosity and adultery, but also on the internal effects such actions could potentially have on women of his time. In this thesis I argue that even though both protagonists act on their curiosities and flirt with private/public boundaries, the petite provinciale and Madame de Grangerie are ultimately presented through masculinized lenses. I also show how discursive nineteenth-century traditions of a limited view of female sexuality are reconstructed in Maupassantâ s tales.<br>Master of Arts
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Lindström, Ida-Maja. "Spaces for Gender Equality in Sustainable Utopias : Investigations into the dreams and realities of women in ecovillage settings in Brazil." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182844.
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Utopian thinking can be understood as an exploration of desires beyond current realities. Seeing ecovillages as spaces for utopian practices, the aim is to investigate what space exists for gender equality and how the utopianism can be used to challenge unwanted patterns. Grounded theory is used to build knowledge from women’s experiences gathered through qualitative interviews. By mapping desires in relation to utopia, it is found that while visions of the sustainable life are seen as attainable, attaining gender equality through equal division of household work is hindered by lack of visions, examples and spaces for discussion of alternatives.
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Sfar, Gandoura Ons. "La Poétique du rêve dans quelques fictions brèves des XIXe et XXe siècles : Gérard de Nerval, Théophile Gautier, Jules Supervielle et Michel Leiris." Thesis, Université Clermont Auvergne (2017-2020), 2020. http://www.theses.fr/2020CLFAL008.
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Quand le rêve authentique ou fictif intervient dans le texte littéraire, la vaste question de l’inconscient s’impose. La mise en œuvre littéraire du rêve témoigne non seulement de l’intérêt porté à la part inconsciente de l’homme et à son imagination, mais aussi à ses liens fructueux avec le réel : réciprocité, continuité ou rupture, ces liens font toute la dynamique du récit onirique des XIXe et XXe siècles. Le récit onirique s’inscrit dans une esthétique plus large qui, à tous les plans, rompt avec le progressisme et la suprématie de la raison, en établissant une poétique de l’invraisemblable. C’est ainsi, que personnages, espaces, temps, dérogent au normatif, construisant un monde différent qui ne manque pas de rappeler l’univers mythologique. Il s’agit surtout de réfléchir sur l’aventure du rêve littéraire parcourant les différents mouvements et esthétiques littéraires, et incarnant un miroir qui reflète les pensées, les réflexions, les poétiques de Gérard de Nerval, Théophile Gautier, Jules Supervielle et Michel Leiris<br>When the authentic, or fictitious dream intervenes in the literary text, the vast inconscious question imposes itself. The literary implementation of the dream testifies, not only the interest in the inconscious part of man and his imagination, but also his fruitful links with reality : like reciprocity (exchange), continuity or rupture. These links, make all the dynamic « dream story » of the 19 th/ 20 th centuries. The dream like narration is part of the broader aesthetic, which, in all respects, breaks with progressivism and the supremacy of real, by establishing poetics of the improbable. Thus, chahracters, spaces, time derogate from the usual, (normative), building a different world that does not fail to recall the mythological universe. It is above all, to reflect on the adventure of the literary dream, traversing the different literary and aesthetic movements and enbodying a mirror that reflects the thougts, reflections, poetics of Gérard de Nerval, Théophile Gautier, Jules Supervielle and Michel Leiris
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Young, Jeffrey Scott. "Global address spaces for efficient resource provisioning in the data center." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/50261.
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The rise of large data sets, or "Big Data'', has coincided with the rise of clusters with large amounts of memory and GPU accelerators that can be used to process rapidly growing data footprints. However, the complexity and performance limitations of sharing memory and accelerators in a cluster limits the options for efficient management and allocation of resources for applications. The global address space model (GAS), and specifically hardware-supported GAS, is proposed as a means to provide a high-performance resource management platform upon which resource sharing between nodes and resource aggregation across nodes
can take place. This thesis builds on the initial concept of GAS with a model that is matched to "Big Data'' computing and its data transfer requirements.
The proposed model, Dynamic Partitioned Global Address Spaces (DPGAS), is implemented using a commodity converged interconnect, HyperTransport over Ethernet (HToE), and a software framework, the Oncilla runtime and API. The DPGAS model and associated hardware and software components are used to investigate two application spaces, resource sharing for time-varying workloads and
resource aggregation for GPU-accelerated data warehousing applications. This work demonstrates that hardware-supported GAS can be used improve the performance and power consumption of memory-intensive applications, and that it can be used to simplify host and accelerator resource management in the data center.
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Soulimant, Nina. "Faire face au changement et réinventer des îles." Phd thesis, Université de La Rochelle, 2011. http://tel.archives-ouvertes.fr/tel-00750862.
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Penser l'île de manière théorique, comme espace de la finitude, de l'isolement, mais aussi lieu comme espace primordial pour l'étude du changement, est nécessaire ; même si à première vue la théorie ne semble pas souvent être en phase avec la "réalité". Cette recherche proposera donc une traversée du XXe siècle, afin de mener une observation des changements majeurs ayant marqué les espaces insulaires (principalement les îles intégrées dans le giron de l'Union Européenne), et les progressives prises de conscience des déséquilibres créés. Deux archipels servent de supports à cette réflexion : les Açores (Portugal) et les Hébrides (Ecosse, Royaume-Uni). Une idée centrale teinte ce voyage : même face à un passé marqué par les dépendances (économique, politique, énergétique...), par la déprise et des problèmes environnementaux, subsiste toujours un potentiel permettant de réinventer ces îles, les faisant évoluer vers des logiques nouvelles. Ce potentiel surgit en s'appuyant sur l'image idéelle et rêvée de l'île que nous portons tous en nous ; nos représentations d'une île qui n'existe souvent plus (ou qui n'a jamais existé), mais qui vit dans les esprits et nous fait rêver. En ce début de XXIe siècle n'est-on pas en train d'assister à l'émergence d'une nouvelle insularité, où île réelle et île rêvée peuvent enfin coïncider ?
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Kapela, Steven J. "The Boy with the Aluminum Hat." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398358520.
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Oskarson, Kindstrand Gro. "Lovecrafts kvinnor : En undersökning av kvinnlig monstrositet i Howard Phillips Lovecrafts litteratur." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27366.
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While the strategy of lending a voice to the monstrous is a well known aspect of Howard Phillips Lovecraft's works, the female monster is a notable exception to this case. In this thesis, I excavate a theory of female monstrosity through a reading of some of Lovecraft's most read stories and the agency of female characters that appears within. Comparing these female registers of monstrosity to their masculine counterpart, I develop a concept of female monstrosity manifested through categories of class, race and gender with the help of Judith Halberstams theories of monstrosity. Rather than treating these women as active characters, I argue that Lovecraft's inability to handle these monsters forces him to literally put them away – in attics, cellars, or boxes. These are the marginalized positions from which these women elaborate a monstrous form that transcends the boundaries of sex, gender, class and race. Here lurks a female monster, powerful, independent and evil, Lovecraft's treatment of which reveals his fear of its unfettered emergence. Thus Lovecraft’s narrative technique is broken by his own creation. Indeed, these women, in their reproductive capabilities and the monstrous motherhood they represent, are the true monsters of the Lovecraftian universe.
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Sorenson, Peter David, and peter sorenson@rmit edu au. "Signs of mid-life: images from the contemporary Australian mid-life male psyche." RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.
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This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.
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Sola, Jiménez Rocío. "El País de los Sueños de Alfred Kubin: Cartografías del paisaje interior del artista." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/670941.
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El portfolio Traumland (1922) de Alfred Kubin es el más personal y complejo, aunque olvidado, de los trabajos del artista. Tras un exhaustivo análisis de la vida, obra, contexto y escritos íntimos de Kubin, esta tesis presenta el portfolio como un proyecto para cartografiar sus paisajes interiores, que beben de sus experiencias oníricas y del vínculo con su entorno. El marco contextual abarca desde el origen del Expresionismo hasta 1920, señalando la importancia de la obra kubiniana dentro del mismo. Se analiza la imagen de la ciudad en el Expresionismo mediante tipologías compartidas por Arte y Literatura de las que Kubin participó. A través de conceptos como Stimmung, heterotopía y “memoria colectiva”, se explica la permuta de ciudad por naturaleza, aspecto que une a Kubin con otros artistas de entreguerras. La síntesis de nuestros hallazgos culmina en un análisis técnico y simbólico del Traumland y del modelo de paisaje kubiniano.<br>Alfred Kubin’s Traumland portfolio (1922) is the most personal and complex, yet understudied, work of the artist’s career. By comprehensively analysing his life and works, context and personal writings, this thesis explains Kubin’s portfolio as a project for mapping his inner landscapes, which draw directly from his oneiric experiences and from the bond with his environment. The study is framed within the context that embraced the beginning of Expressionism until 1920, and assesses the importance of the Kubinian works within that period. The image of the city in Expressionism is analysed through different typologies exhibited in Art and Literature, to which Kubin contributed. Concepts of Stimmung, heterotopia, and ‘collective memory’ are applied to explore his artistic shift from city to nature, something shared with other artists of the interwar period. The synthesis of findings culminate in the technical and symbolic analysis of Traumland and the prototype of the Kubinian landscape.<br>Alfred Kubins Traumland Mappe (1922) ist das persönlichste und komplexeste, denoch das am selten berücksichtigste Werk des Künstlers. Nach einer ausführlichen Analyse von Kubins Leben, Werk, Zeitrahmen und privaten Schriften, präsentiert diese Doktorarbeit die Mappe als Projekt zur Abbildung seiner Innenlandschaften, die sich aus seinem Traumerleben und der Verbindung mit seiner Umgebung schöpfen. Diese Untersuchung wird zwischen dem Ursprung des Expressionismus bis 1920 eingerahmt, unter besonderer Hervorhebung des kubinischen Werkes. Das Bild der Stadt im Expressionismus wird durch verschiedene Typologien analysiert, die Kunst und Literatur betreffen, an denen Kubin beteiligt war. Durch Konzepte wie Stimmung, Heterotopie und „kollektives Gedächtnis“ wird der Wandel vom Stadtbild zur Natur untergesucht, der Kubin mit anderen Künstlern aus der Zwischenkriegszeit teilte. Die Synthese unserer Ergebnisse gipfelt in einer technischen und symbolischen Analyse des Traumlandes und des Modells der kubinischen Landschaft.
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Chang, Rung-Chuan, and 張榮權. "Gameplay of Dream and Space-time－－Take the Legend of the Tang Dynasty A Dream in a Pillow for Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/28470973497230126071.
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碩士<br>國立臺東大學<br>兒文所<br>102<br>According to Zhuangzi, the life is like a dream of turning into a butterfly. Whether the actual space-time or the virtual one form a real life? Moreover, there`s a saying that
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Dickerson, Sarah Anne. "Borderlines of labor : Margarita Cabrera’s sculptures and the (un)American dream." Thesis, 2014. http://hdl.handle.net/2152/28252.
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This thesis contextualizes the work of artist Margarita Cabrera within Chicano, postcolonial, and feminist theories, and specifically places her work within discourses surrounding the United States-Mexico border. I address the evolution of Cabrera’s sculptural work from her initial Desert Plants to the collaborative, community-based workshop Space in Between, which prompted her incorporation of Florezca, a for-profit social enterprise. I discuss how Cabrera’s collaborative art-making process and founding of a corporation are strategic methods to challenge and attempt to change oppressive political systems in the United States that disenfranchise undocumented Latino immigrants.<br>text
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Chi, Huang-Ya, and 黃雅琪. "The Study for Theatricality of Children''s Learning Space―A Dream-maker about secret Place." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/jt7dy4.
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碩士<br>國立臺北科技大學<br>建築與都市設計研究所<br>94<br>Learning space for children is typically designed according to adult’s cognition, and yet children and adults have different living experience thus having quite different cognition of learning space. Due to the limitation of cognition experience, thought of children mainly stems from their fantasies and they tend to interpret the relationship between them and the outside world from “the view of story.” The learning for children, on the other hand, needs encouragement and curiosity is the main motivation. “Dramatic effect” contains curiosity-trigger and “drama” can lead children to have positive behaviors of cognition. Furthermore, fairy tales meet the psychological logic of children cognition and they provide both children and adults with psychological needs – prototype for all drama. Thus, the roles of “drama” in children learning are:
1. To constantly trigger the curiosity for children learning and to generate the energy of emotionally potential difference.
2. To offer the concrete media for “satisfying psychological needs for children.”
Via collecting the data of cognition, learning, and psychology of children, this study tried to analyze children’s world from their view point. The discussion of drama of children cognition is mainly based on Peter Pan. The effect of the fanciful world created in this tale is “Dream Allegory,” shows children’s anti-emotion that is suppressed by adults in the real world and transforms these psychological conflicts into concrete play scenario. By this process, children can have a vessel of emotion unleashed, their physical and mental conditions can be balanced temporarily, and these will form the drama for children cognition.
Children need a cozy and safe covert base of dream formation, where they can generate fancy. In their own base, children can lead adults to explore their worlds through treasure hunt and have surprises and the sense of achievement when they find treasure. These will reduce the gap between children and adults’ cognition, arouse self-learning passion for explorers, trigger positive behaviors of cognition, and they would deem learning a happy mission -- “Covert Base for Dreams Formation” emerges.
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Evans, Tara Jane. "It’s not just about birds: the other negative space in Alfred Hitchcock – cinematic dream vernacular and the phenomenology of fear." 2013. http://hdl.handle.net/1993/22079.
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Foundational to almost any Hitchcock film is the idea of the voyeur: the (un)natural inclination to want to look upon the private, obscene, and potentially grizzly instances in other peoples’ lives. Such inclinations are typically satiated in secret and subsequently denied as something we desire. The voyeuristic act may be connected to narcissism in that we are seduced by our own fears and inner hells projected onto the watched ‘other.’ This kind of projection not only perpetuates our sense of denial of what are our own inclinations, but it also precipitates the potential for de-humanization and feelings of emptiness in that we detach from ourselves. The phenomenological paradox to such detachment is that the more we insist we are safe and self-enclosed here while the ‘other’ remains at bay there, the more we are convinced that we know ourselves and are connected to ourselves, when arguably, we couldn’t be more detached from ourselves and our humanity. And by not really knowing ourselves as well as we thought – as we might infer from a kind of ‘doppelganger’ or ‘doubles’ reading of Strangers on a Train, for example – is how fear is born, both in a Hitchcock film and in life generally. How then, might we come to truly know or face our fear if estrangement would seem an inherent quality to our very experience of it?
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Barroso, Ana Paula Machado. "Transfigurações da cidade no cinema Mulholland Drive : o espaço como registo referencial de sonhos, de memórias e de fantasmas." Master's thesis, 2007. http://hdl.handle.net/10400.2/544.
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Dissertação de Mestrado em Estudos Americanos apresentada à Universidade Aberta<br>Resumo - Este trabalho pretende explorar as significações dos diferentes espaços do filme Mulholland Drive, de David Lynch, partindo do espaço físico da cidade de Los Angeles, como espaço aglutinador de factos e de ficções, onde Hollywood assume um papel fulcral. As representações da cidade ao longo da história do cinema, desde os primeiros actuality films, passando por todo a ciclo de filmes categorizados como film noir, até ao nosso filme, têm ditado e desenvolvido novas abordagens e perspectivas sobre a forma como o sujeito se tem relacionado com os espaços da cidade (tanto através da experiência real, como da experiência fílmica) e com o próprio cinema, enquanto arte que inscreve e problematiza espaços que não estão circunscritos ao nosso quotidiano e à nossa realidade imediata, mas antes, são impregnados de outros sentidos, nem sempre compreensíveis ou fáceis de descrever, mas que têm a magia e a consistência necessárias pare se fazerem valer por si mesmos, mesmo quando podem sugerir uma tentativa de mimese da realidade.
Cumprido mais de um século de cinema e, numa época, cada vez mais dominada pelas imagens, impunha-se um filme que questiona e esbate as fronteiras entre o especular e o real, entre a ficção e a realidade, centrando-se numa dialéctica construtiva e criativa dos diferentes espaços do filme. Dos espaços exteriores, de aventura e de perdição, ao espaços interiores seguros e de refúgio, nada é aquilo que parece ser e, facilmente, identidade e memória se fragmentam na tentativa de recompor e consubstanciar, não só os espaços que vivemos no quotidiano, mas também aqueles que enquadram os nossos sonhos, desejos e fantasmas. Espaços paralelos, fantásticos e subconscientes desenvolvem-se a partir do corpo (humano e da cidade) para no e depois do filme o espectador re-encontrar o(s) seu(s) espaço(s) como ser humano no mundo e na arte<br>Résumé - Le but de ce travail est d’exploiter les significations des différentes espaces du film Mulholland Drive, de David Lynch, en partant de l’espace physique de la ville de LosAngeles, en tant qu’espace qui agglutine des faits et des fictions où Hollywood a un rôle primordial. Les représentations de la ville le long de l’ histoire du cinéma, dès les premiers actuality films en passant par tout le cycle de films classés par catégories comme film noir , jusqu’à notre film, ont dicté et développé de nouveaux abordages et perspectives sur la forme comme le sujet envisage sa relation par rapport aux espaces de la ville (soit à travers l’expérience réelle soit l’expérience des films) et avec le cinéma soi-même, comme un art qui inscrit et rend des espaces problématiques qui n’appartiennent pas à notre quotidien et à notre réalité tout à fait immédiate, mais qui, avant tout, sont pleins d’autres sens qui ne sont pas toujours compréhensifs ou faciles à décrire, mais qui possèdent la magie et la consistance nécessaires, de telle manière qu’ils n’ont besoin de rien, même quand ils peuvent suggérer un essai de mimesis de la réalité. Plus d’un siècle de cinéma s’est déjà passé. Dans une époque, de plus en plus dominée par les images, c’était important qu’un film qui questionne et annule les frontières entre l’acte de spéculer et le réel, entre la fiction et la réalité qui se centre dans une dialectique constructive et créative des différentes espaces du film. En partant des espaces extérieurs, d’aventure et de perdition jusqu’aux aux espaces intérieurs en sûreté et en refuge, rien n’est ce qu’il paraît et, facilement, l’identité et la mémoire se coupent quand elles essaient de recomposer et de consolider, ne pas seulement les espaces qu’on vit tous les jours, mais aussi tous ceux qui font partie de nos rêves, nos désirs et nos fantômes. Des espaces parallèles, fantastiques et subconscients se développent à partir du corps (humain et aussi de la ville) pendant le déroulement et après le film le spectateur trouve de nouveau son/ses espace(s) tel qu’un être humain dans le monde et en art<br>Abstract - This dissertation aims to explore the different meanings of the different spaces within the film Mulholland Drive, by David Lynch. The starting point is the physical space of the city of Los Angeles as the merging space of both facts and fiction, where Hollywood plays the main role. The representations of the city through the history of cinema, since the first actuality films – not forgetting the films belonging to the film noir period – till our film, have been shaping and evolving in new perspectives and approaches on the way the subject relates himself to the urban spaces (either by his own personal and real experience, or through films) and to the cinema itself. The cinema is a means of art that inscribes and questions spaces which are not limited to the reality of our ordinary life, but instead are carved with other meanings not always easy and simple to understand or to talk about. These spaces have a special magic and they are consistent enough to be valuable on their own, even if it seems they want to imitate reality.
A century has gone by since the beginning of cinema and today, a time more and more controlled by all kind of images, it is important to watch and discuss a film which frames and intents to dissolve the boundaries between what’s real and specular, illusion and reality, focusing on the constructive and creative dialectics of the different spaces within the film. From the exterior spaces (of adventure or perdition), to the interior spaces (of safety and refugee), there is an insistence that nothing is ever the way it seems causing a break in identity and memory, a process always necessary not only to restore the spaces which are part of our daily life but also the ones which frame our dreams, wishes and ghosts. Parallel, fantastic and subconscious spaces evolve from the physical body (being the city or the human body) so that within and after the film the spectator can find his own space (of reality or creativity) as a human being
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Chiu, Kuei-Li, and 邱圭麗. "Memory and Space in Wu Ming-Yi’s Routes in the Dream, The Illusionist on Skywalk and Other Short Stories, and The Man with the Compound Eyes." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/um3993.
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碩士<br>國立中興大學<br>台灣文學與跨國文化研究所<br>107<br>This study aims to explore how the imaginations of past history, contemporary capitalism cities, and future natural disasters are constructed by the narratives based on memories and spaces in three novels by Mr. Wu Ming-Yi’s, including Routes in the Dream, the Illusionist on Skywalk and Other Short Stories, and the Man with Compound Eyes.
In Routes in the Dream, the novelist connects the past and the present with dreams to compose the inexperienced war. For his father, Saburo, the novelist examines the relationship between his identity and existed spaces. Afterward, the novelist develops new perceptions via a special medium and further comprehends the memories about the war that his father was involved. The second chapter depicts how the Avalokitesvara Bodhisattva in his dream links his mother, father, and himself to the memories about the war, and then builds the historical appearance.
The Illusionist on Skywalk and Other Short Stories, the novelist uses his memories to shape the place and as such resists the disappearance of landscape and culture. Places are defined as meaningful spaces. Therefore, the priority of this chapter is to discuss how the writer selects important symbols and summons collective memories with an attempt to envisage the regions. Unlike common urban fake images, the subsequent content consists of the traces caused by the interaction between people and places, sentimental descriptions, and measures to form the uniqueness of places.
In the Man with Compound Eyes, a near future writing style is employed to envision the collapsed Taiwan in the coming two or three decades. Based on a relationship between memories and environment as the theme, three islands are compared in terms of the meaning of the spaces in this chapter. The discussion on Taiwan Island mainly focuses on the complex relationships among society, culture, historical experiences, and environmental problems in Taiwan. By contrast, in the virtual Wajuwaju Island, a standard setting of an ecological Utopia, the living space means equivalently living practice, which reflects the novelist’s wonderful visions regarding a primitive relationship between the people and the environment. A garbage vortex implies a relay station that bridges the fantasy and the reality. Metaphorically, Taiwan is an analogy to Wajuwaju Island and is fitted in the global network for the subsequent discussion on environmental issues.
Despite the differently conveyed themes of spaces and memories, all of the three novels respond to the Taiwan issues that the novelist concerns. With respect to the construction of history, the history is expressed on a space basis, other than a linear timeline and the grand history. Accordingly, the complexity of identity recognition and diverse points of view regarding history are well presented. Moreover, the duplicated malls allow the faded past to be recalled and places to be preserved and reminisced, which in turn expresses new meanings. Finally, the writer steps back from the ecological problems in Taiwan, and then reviews people and the environment. He presumes the consequences that would happen when people estrange from the nature, showing his care and positive attitude toward the environment.
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Jacques, Gabrielle. "Espace et récit : l’inscription des temps dans la ville : parcours stochastiques chez Julio Cortázar." Thèse, 2010. http://hdl.handle.net/1866/4263.
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De la mouvance du récit contemporain fragmenté, labyrinthique, se dégage un rapport significatif entre les personnages du récit et les lieux dans lesquels ils gravitent : lieux comme figures diverses et discontinues de l’histoire et des mythes y étant inscrits. Cette construction interactive entre lieu et sujet fait intervenir l’espace comme primordial, et, ainsi, redéfinit l’importance du temps dans l’écrit. Le temps n’adviendrait plus seulement dans le « raconté », comme le suggère Ricœur, mais dans les strates successives de son inscription dans les lieux : le lieu est vécu comme art combinatoire des expériences qui s’y rattachent. C’est par le projet continuel et imparfait du sujet à se situer, plus spécifiquement ici dans la ville et dans celles auxquelles il s’identifie, que surgit l’expression du récit. À travers trois œuvres de Julio Cortázar, le temps sera pensé comme une modalité de fragments « empilables », inscrite dans les lieux signifiants, qui saura émerger au conscient par l’entremise de la porosité de la ville, de sa capacité à susciter des « sauts », des passages. Ce qui lie les espaces architectoniques et le temps qui s’y imprime au sujet qui doit se dire pour exister, mettre en récit afin d’unifier les parties discontinues de son être, émergera dans le « devenir en mouvement », superposition du récit et de l’expérience réelle, par les tropes cortazariens de l’expérimentation, jeu, passage et langage. Là surgira dans l’acte créatif une dynamique spécifique à la ville qui envahit et guide le sujet: sa singularité plurielle.<br>From the shift of contemporary literature towards labyrinthine, fragmentary self expression, emerges a meaningful correspondence between the characters of a narrative and the spaces they inhabit : spaces as multiple and discontinuous figures inscribed in history and myth. This interactive construction linking place and subject renders space of primary significance and in so doing, redefines the importance of time in the act of writing. Time does not unfold only in "what is told", as Ricoeur suggests, but in the successive layers of its inscription in place: which is lived through the combining art of experimentation with attachment to place. The expression of the subject of the narrative emerges from the continual and imperfect project of the subject to locate himself in the city, in those places with which he identifies and which construct him. Through three texts by writer Julio Cortázar, time will be considered as a modality of “accumulatable” fragments, inscribed in significant places, from which a consciousness emerges through the city's porousness and its capacity for leaps and passageways. What connects the architectonic spaces and the imprint of time within them and a subject who must express himself to exist and create narratives to unify the discontinuous parts of his being, will emerge through "becoming in action", the addition of narrative and real life experience in Cortazarian figures of experimentation, play, passageway et language. Herein a dynamic specific to the city emerges in the creative act that fulfills and guides the subject: his plural singularity.
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Lo, Yu-Chia, and 羅毓嘉. "Living Dreams on Ximen Red House Square: Toward a Civic Space of Gay Community in Taipei." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/11480200866272591551.
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碩士<br>臺灣大學<br>新聞研究所<br>98<br>Using the analytical framework on civic spaces provided by Mike Douglass, this paper examines how the mixture of sectors came out on “Hong Low Guan Chang (Ximen Red House Square)” changed the face of contemporary urban gay lives in Taipei. First, the negotiation between city governors and gay café managers points out that even if gay community brought the revival of a forgotten area, gay business is still a taboo in official urban plan. Second, the heteronormativity seems to fade out in the area; however, the differed gay performativity still reveals uneven power in between gay individuals including the bears, the sissies, and the transgender. Third, based on current organizational framework of gay café and service providers, the dissertation suggests the possibilities of opening up a new route of gay right movements in Taipei.
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Juarez, David Ryan. "Haunted by you : a study of the real and psycho-literary space of Jack Kerouac’s Lowell." Thesis, 2014. http://hdl.handle.net/2152/28516.
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This report argues that through his lived experiences of growing up in his hometown of Lowell, MA, and the joys and traumas he accrued from early childhood and into early adulthood, Jack Kerouac began to rewrite, reimagine, and reconstruction Lowell in several different works and iterations to attempt to address and exorcise the ghosts of his past. For my argument, I study several of Kerouac’s works: Visions of Gerard (1963), Doctor Sax: Faust Part Three (1959), Visions of Cody (1972), and Book of Dreams (1960). Pulling from the fields of Beat studies, literary criticism, childhood studies, psychology, geocriticism, and American cultural history, I attempt to highlight the translation and transformation of Lowell in Kerouac’s texts into a psycho-literary space.<br>text
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Lin, Ziyi, and 林姿宜. "Dreams, Fantasies, Transformations, and Lost Souls-A Study on Time and Space in Surreal of Legends in the Tang Dynasty." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/49289671911248057054.
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CHEN, YEN-HUA, and 陳彥樺. "A Study on Tourists' Satisfaction of the Adaptive Reuse in Vacant Spaces--A Case of Jasmine Huatan Pavilion of Dreams." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f88nq8.
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碩士<br>南華大學<br>文化創意事業管理學系文創行銷碩士班<br>105<br>The purpose of this case study, Jasmine Huatan Pavilion of Dreams, aims to discuss the satisfaction of visitors toward the reuse of vacant barns. The questionnaire was adopted in this study by convenience sampling from visitors of Jasmine Huatan Pavilion of Dreams ,and 293 effective questionnaires were collected.,. In this study, there are 3 dimensions including "service quality","leisure entertainment", and "practical experience". In addition to applying the importance–performance analysis (IPA), the descriptive statistics, factor analysis and independent sample t test are used to analyze the data by SPSS 21. statistical software, and. The results of the study are as follows:
1. Visitors are most concerned about the "parking convenience", and the "friendly and kind attitude of the staff” is the most satisfactory item.
2. According to the IPA, "clear signs ", "the richness of displays and facilities " and "toilet equipment and cleanliness" are the three priorities for improvement.
3. In view of basic characteristics of tourists, there is a significant difference in the importance and satisfaction. For example: there is significant gender difference in the satisfaction of "parking convenience".
4. The mean of satisfaction on “friendly and kind attitude of the staff" is the highest, while the mean of "the richness of displays and facilities " is the lowest. The result may provide reference for the industry to adjust and plan.