Dissertations / Theses: 'Hanako'

1

Negishi, Takako. "The Japanese geisha 'Madame Hanako' : a renowned actress on the European stage (1902-21)." Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679847.

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Allard, Danièle. "La popularité d'Anne... la maison aux pignons verts au Japon : une étude de la traduction du roman de L.M. Montgomery par Hanako Muraoka, ainsi que sa réception." Thèse, Université de Sherbrooke, 2002. http://hdl.handle.net/11143/10368.

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Résumé : Cette thèse porte sur la popularité au Japon du roman Anne... la maison aux pignons verts et se base sur la première traduction du roman publiée par Hanako Muraoka en 1952. Cette traduction connut un grand succès dès sa parution. À la fin des années soixante, elle avait déjà été réimprimée plus de vingt fois. Il existe en fait plus de trente adaptations japonaises du roman par une vingtaine de traducteurs différents, mais la version de Muraoka est non seulement celle qui s'est le plus vendue, elle demeure un livre à gros tirage. Cette recherche est spécifiquement axée sur l'influence de cette traduction. Au moment de commencer mes études de doctorat, certaines hypothèses quant à la popularité d'Anne au Japon avaient déjà été émises. D'abord, la traduction de Muraoka fut publiée peu après la Deuxième Guerre mondiale, moment qui aurait eu un effet marquant sur le succès initial du roman. À cette période, les Japonais n'avaient jamais été exposés à un personnage de la trempe d'Anne. Elle devint une inspiration pour nombre de lecteurs dont le monde avait été ravagé. Le pays venait aussi de vivre l'occupation américaine et les ouvrages permettant de s'ouvrir au mode de vie occidental étaient les bienvenus. Muraoka était enfin une écrivaine et traductrice de renom ce qui a vraisemblablement contribué au lancement du roman canadien. Le caractère et la personnalité d'Anne ont impressionné un grand nombre de ses lecteurs : Anne est intelligente, débordante d'imagination, optimiste, charmante et spontanée. Malgré qu'elle doive faire face à des situations difficiles, elle ne désespère pas pour autant et vit avec espoir. Elle a aussi de l'empathie pour ceux qu'elle aime et n'hésite pas à faire des sacrifices pour leur venir en aide. Elle est franche, indépendante d'esprit, et il se peut qu'elle ait été une source d'inspiration pour des lecteurs vivant dans une société où la conformité est plutôt la norme et l'individualisme relativement peu encouragé. […]||Abstract : This thesis examines the popularity of L.M. Montgomery's Anne of Green Gables in Japan through the study of Hanako Muraoka's best-selling translation of the novel. More specifically, it first compares the Japanese translation of the novel with the original English version in light of translation theory -especially the work of Laurence Venuti- in an attempt to show what Japanese readers have been responding to. It then analyzes reader reception of the novel based on theory by Jane Tompkins as well as interviews and questionnaires predominantly with female readers, who form the chore of Anne readership in Japan. It looks at activities performed by Arme Clubs in Japan, then describes reader responses under the two following categories; aspects of the novel that strike chords in Japanese culture and how Arme's character and personality have had an impact. Finally, it examines how in Japan the novel can be perceived both as a symbol of domesticity and confirmation of traditional values as well as an inspiration towards female empowerment. Other reasons explaining the popularity of the novel in Japan are analyzed, such as the quality of Muraoka's translation and the appeal of the numerous nature descriptions to Japanese readers. In addition, the novel is used as a guidebook on a practical level in that it teaches about Western culture and lifestyle, and a philosophical level in that some readers try to emulate Arme's personality. The timing of the translation shortly after World War II has also contributed to a successful launch. Finally, commercial ventures featuring Arme, her presence in varions média, and popular culture have all helped promote the Canadian novel.

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3

Grau, Ingeborg, and Walter Schicho. "In memoriam Irmi Maral-Hanak." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90295.

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4

Hummel, Volker Georg. "Die narrative Performanz des Gehens : Peter Handkes "Mein Jahr in der Niemandsbucht" und "Der Bildverlust" als Spaziergängertexte /." Bielefeld : transcript, 2007. http://www.loc.gov/catdir/toc/fy0712/2007416043.html.

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5

Buch, Sonja. "Zwischen Wolfskind und Automat Peter Handkes "Kaspar" gelesen als Versuch einer elternlosen Menschheitsstiftung /." Klagenfurt : Drava, 2005. http://catalog.hathitrust.org/api/volumes/oclc/62700991.html.

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6

Hanak, Kirstin [Verfasser]. "Bedeutung von PACS-2 für die Karzinogenese von Hepatozyten / Kirstin Hanak." Hannover : Gottfried Wilhelm Leibniz Universität Hannover, 2018. http://d-nb.info/1172414661/34.

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Grau, Ingeborg, and Walter Schicho. "In memoriam Irmi Maral-Hanak: 18. 2. 1967 - 27. 8. 2011." Swahili Forum 18 (2011), S. 3-4, 2011. https://ul.qucosa.de/id/qucosa%3A11461.

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8

Reuter, Tite. "Réalité et plénitude chez Peter Handke." Paris 12, 1993. http://www.theses.fr/1993PA120004.

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A partir de trois references (spinoza, husserl, proust) cette these entreprend d'interpreter l'oeuvre de peter handke: l'apprehension et la connaissance vraie du reel s'averent en etre les themes-cles. Realite et langage sont determines par rapport a la non-realite et au non-langage. La these soulagne l'aspect phenomenologique de l'approche du reel et etablit les moyens "handkeens" d'y parvenir: ecriture, perception, marche, vacance, reminiscence ou encore "reprise". Enfin, le sujet percevant et connaissant eprouve a travers une sensation de plenitude, un sentiment existentiel et ontologique
With three references - spinoza, husserl, proust - as starting points, this thesis undertakes to interpret the works of peter handke: the apprehension and true cognition of the real turn out to be its key-themes. Reality and language are determined in relation to non-reality and nonlanguage. This thesis emphasizes the phenomenological aspect of the approach of the real and establishes the handkean means to achieve it: writing, perception, walking, vacancy, reminiscence or, in other terms, re-calling of the past. Finally, the perceiving and cognizant subject experiences - through a sensation of plenitude - an existential and ontological feeling

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9

Wagner, Heinke. "La mission théâtrale de Peter Handke." Paris 8, 2001. http://www.theses.fr/2001PA081867.

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Cette étude du théâtre de Peter Handke de 1964-1992 est un essai d'interprétation inspiré des concepts de la psychologie de C. G Jung, concernant l'évolution des formes et des thèmes de son écriture théatrale. Cette approche permet de saisir des aspects de son esthétique à partir du questionnement de l'identité, telle que celle-ci se révèle dans le langage et dans les structures du théâtre de Handke. Depuis ses débuts avec les "pièces parlées", jusqu'aux pièces proches des tragédies et des mystères, son oeuvre apparaît du point de vue de la psychologie des profondeurs comme un processus "alchimique" : une oeuvre de transformations
The study about Peter Handkes theatre from 1964 to 1992 is an essay of interpretation inspired by the psychological ideas of C. G. Jung, concerning the evolution of the forms and subjects of his theatre. This approach makes it possible to analyse several aesthetic characters by questionning his conception of identity expressed by language and stuctures in his art of dramatic writing. Beginning with the early work ("Sprechstücke" - the "speak-plays") and continuing with the forms corresponding to tragedies and mysteries, his theatre appears, following the depth psychology, like an alchemical work in progress : the work of transformations

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10

Pompe, Anja. "Peter Handke Pop als poetisches Prinzip." Köln Weimar Wien Böhlau, 2009. http://d-nb.info/994073909/04.

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Jones, Margaret H. "The principle of "Langsamkeit" in Peter Handke's In einer dunklen Nacht ging ich aus meinem stillen Haus." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1194280656.

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Nordquist, Olle. "Reformationen i Hanebo och Segersta : en historiografisk undersökning." Thesis, University of Gävle, Ämnesavdelningen för religionsvetenskap, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-3834.

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Ämnet för denna uppsats är reformationen och Gustav Vasas maktövertagande i Sverige, under första delen av 1500-talet. Framförallt i Segersta och Hanebo socknar, i södra Hälsingland.

Med hjälp av en historiografiskt komparativ metod försöker uppsatsen besvara hur tidigare historiska verk förklarat det faktum att det inte, i södra Hälsingland, uppstod några oroligheter till följd av de religiösa och samhälleliga förändringarna.

Efter att ha redovisat den historiografiska bilden av hur historiesynen förändrats görs en studie av fyra historieberättande texter. Först två lokalhistoriska verk av äldre datum, där fokuseringen ligger på just det område, Segersta och Hanebo, som undersökningen begränsar sig till. Därefter följer två nyare verk som, även om de fokuserar sig på landet som helhet, i alla fall presenterar nya teorier och metoder inom forskningen.

Det visar sig att de äldre lokalhistoriska verken inte alls är amatörmässiga, men företräder en omodern historiesyn. Efter att ha tagit del av de modernare verken blir det uppenbart att ny tolkning av gamla källor, tillsammans med nya källor, förändrat synen på reformationens verkningar på befolkningen, Gustav Vasas roll för reformationen, samt de befintliga oroligheternas dignitet. Samtidigt klarnar bilden av sockenprästernas betydelse för såväl Gustav Vasas som reformatorernas kommunikation med befolkningen.

Resultatet av undersökningen blir att det är hög tid för en ny kvalitativ studie av Segersta och Hanebo socknar och samtidigt väcks några nya frågeställningar som förhoppningsvis kan vara fruktbara för en sådan studie.

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Eaket, Christopher Curtis. "Construction of the subject in Handke and Müller." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60371.pdf.

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Hanack, Christina [Verfasser]. "Proteomics reveal insights into TRPV1 function / Christina Hanack." Berlin : Freie Universität Berlin, 2014. http://d-nb.info/1050978390/34.

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15

Bedir, Murteza. "The early development of Hanafi usul al-fiqh." Thesis, University of Manchester, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497112.

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This is a study about the early history of usal al-fiqh as a literary genre. An attempt is made to make a comparative analysis of five texts of uscil al-fiqh, all belonging to the Hanafi school. These five texts are: al-Fusfil fi- al-Usul by Jassas (d. 370/98 1), Taqwim al-adilla by Ab-a Zayd al-Dabusi (430/1039), Kitab al-Usul by Shams al-a'imma al-Sarakhsi (483/1090). Kanz al-wusul ila ma'rifat al-usul by Fakhr al-Islam al-Pazdawl (482/1089) and Usfil al-Shdshi, whose author is unknown. In this study, I endeavoured to show that the first four texts of usul display a methodological continuity which is characterised by a juristic outlook. This continuity is bolstered by the fact that one can also trace a terminological and structural development of these texts in conjunction with their chronology. In addition, I argued that the so-called Usull al-Shashi cannot be dated prior to the final text above, i.e. Pazdawi's Kanz, as some have believed, on the basis of my analysis of the language and structure of this text in comparison with the former four.

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16

Aracri, Paolo. "Eine lebenslange Beziehung : Peter Handke und seine Mutter." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-53597.

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Peter Handke gilt als einer der bekanntesten modernen österreichischen Schriftsteller.Obwohl sehr umstritten, bekam er 2019 den Literaturnobelpreis. Zeuge seiner Stilkunst istdie Erzählung Wunschloses Unglück. Schon im Titel spürt man einen grundlegendenWiderspruch in der Mutter-Sohn-Beziehung. Dazu sagt Mauser, dass WunschlosesUnglück eine biographische Erzählung darstellt, wo der Verfasser, Peter Handke, seineeigenen Erinnerungen ebenso realistisch wie individuell wiedergibt: zentraler Punkt ist,dass Handkes Mutter im Alter von 51 Jahren Selbstmord begeht. Der Autor Peter Handketrägt aus seiner Erinnerung zusammen, was er über seine Mutter ausfindig machen kann.Es entsteht das Bild einer Frau, die aus einer Welt sozialer Unterdrückung kommt underste Schritte zur Selbstverwirklichung macht, im Ganzen aber erfolglos. Sie löst sichzunächst aus dem engen, ländlich-bäuerlichen Dasein, ohne freilich in ein andereshineinwachsen zu können”1.Kern des Buchs ist die Beziehung zwischen Handke und der Mutter Maria. Besondersinteressant ist die Tatsache, dass sich die Figur der Mutter als dreifach gebrochen zeigt.Anders gesagt schildert der Verfasser die Entwicklung der Mutter in drei Phasen: dasMädchen, die Ehefrau und die Hausfrau. Das sind möglicherweise die Schlüsselfaktoren,die Maria Handke zum Selbstmord getrieben haben.

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17

Bernard-Eymard, Isabelle. "Déraison et sagesse dans l'oeuvre de Peter Handke." Lille 3, 1988. http://www.theses.fr/1988LIL30030.

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Peter Handke, né en 1942, passait, vers la fin des années 1960, et au-delà, pour fantasque et provocateur. On louait sans limite ou détestait superbement la déraison d'un homme en qui l'on veut voir maintenant le détenteur d'une sagesse. C'est bien négliger là un plus exact rapport de simultanéité et de complementarité : la sagesse est, en effet, pour lui, une exigence constante, la déraison, un supplément d'être nécessaire, - en toutes circonstances. L'individu face au néant, mis en avant par le colporteur, laisse peu à peu la place à l'écrivain, conscient d'une filiation autrichienne affichée, au carrefour de la tradition antique et du classicisme, s'interrogeant sur lui-même et le monde à travers la rencontre des grands auteurs et de la peinture. Mais cela ne change rien à la chose: déjà les productions diversifiées des debuts, récits inspirés du nouveau roman francais, dramaturgie experimentale, romans pseudo-policiers, poèmes tarabiscotés, nouvelles fantastiques, tissaient un contenu idéel que déterminaient différents degrés de la sérenité et du savoir. Les actes et dires déraisonnables sont l'instrument meme de la recherche d'un équilibre, fin et moyen de l'éducation interieure, de l'observation de soi. Avec un clin d'oeil, même les oeuvres les plus récentes semblent nous dire que les gens déraisonnables ne doivent pas être en voie de disparition. Tour à tour narrateur, polémiste, critique, cinéaste, traducteur, prophète, lors de ses sejours en autriche, en allemagne, en amerique, en france, en italie ou en yougoslavie, Peter Handke defend une forme d'écriture loin des conformismes et des habitudes. La déraison et la sagesse dans l'oeuvre deviennent la déraison et la sagesse d'une oeuvre, celle d'un auteur attachant et abondant, qui a la faiblesse ou la force d'affirmer à tout moment que les certitudes ne peuvent être que provisoires
During the late sixties and beyond, peter handke, who was born in 1942, was considered whinsical and provocative. The folly of a man who we now like to see as the soul of wisdom was either praised to the skies or fimly detested. This completely overlooked a particular relationship of both simultaneity and complementarity: wisdom is in fact for him something to strive for constantly, whilst folly is a necessary extra in all circumstances. The individual facing the void, explored in "le colporteur" ("the salesman") gradually gives way to the writer who, aware of the displayed austrian affiliation, at the crossroads of the ancient tradition and classicism, examines himself and the world through the medium of great authors and paintings. But it makes no difference. The various early works, narratives inspired by the french "nouveau roman", experimental drama, pseudo detective novels, radio plays, over elaborate poems, tales of fantasy were weaving an ideal content determined by different levels of serenity and knowledge. Irrational words and deeds are themselves the instrument in the search for balance, the means and the aim of inner enlightenment, of selfobservation. In the twinking of an eye, even the most recent works seem to tell us that eccentric people are not about to disappear. In turn story-teller, polemist, critic, film-maker, translator and prophet during his stays in austria, germany, america, france, italy and yugoslawia, peter handke stands up for a style of writing which is far from conformity and orthodoxy. Folly and wisdom in his work become the folly and the wisdom of a work, that of an author who is captivating and prolific and whose weakness, or strength, confirms that certainty can only be temporary

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Schwagerle, Elisabeth. "Peter Handke et la France : réception et traduction." Paris 3, 2006. http://www.theses.fr/2006PA030093.

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En France, Peter Handke (*1942), auteur autrichien résidant à Chaville, est l’un des écrivains les plus connus de la littérature germanophone contemporaine. Son œuvre est presque intégralement traduite et publiée. Handke a aussi en France une grande renommée comme cinéaste et scénariste de quelques films de Wim Wenders, réalisateur allemand qui a, en retour, mis en scène des récits de Peter Handke. Cette grande notoriété et reconnaissance, - d’ailleurs très contestées et contradictoires -, de cet écrivain ne s’explique que par un mélange de facteurs différents. En s’appuyant notamment sur la théorie du champ de Pierre Bourdieu, le présent travail se propose d’analyser la réception française de cet écrivain en mettant en relief les thèmes et les arguments dominant dans la presse et en déterminant la position de cet auteur dans le champ littéraire français pendant la période étudiée (1967-2006). L’étude analyse aussi l’influence de la France et de la littérature française sur Peter Handke et sur son œuvre ainsi que le rôle important en tant que médiateur culturel que joue Handke comme traducteur de nombreuses œuvres d’auteurs français (Bove, Char, Ponge, Modiano, Duras, Goldschmidt, Bayen, Genet). L’étude montre les répercussions de ces traductions sur l’œuvre de Peter Handke et les liaisons poétiques entre ses écrits et les œuvres traduites
In France, the Austrian writer Peter Handke (*1942), who lives in Chaville, outside Paris, counts among the best known contemporary authors of German literature. Almost all of his works have been translated and published here. Handke is also a celebrated film director in France, and is known as the screenwriter for a number of films by the German director Wim Wenders. Wenders for his part adapted some of Handke’s stories for the screen. Handke’s great fame and recognition – always subject to controversy – can only be explained by an array of different factors. By emphasizing Pierre Bourdieu’s Field Theory, this text tries to analyse the writer’s reception in France by highlighting the main subject matters and the most important arguments put forth in the French media over the years. It also tries to determine the author’s place within the French literary field during the years closely studied, 1967-2006. The study also analyses the influence of France and of French literature on Peter Handke and his œuvre, as well as his importance as a cultural mediator and translator of a number of works by French authors (Bove, Char, Ponge, Modiano, Duras, Goldschmidt, Bayen, Genet). The study mirrors the repercussions these translations have had on Handke’s own work, and depicts the poetic liaisons between his own writing and the works he has translated

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19

Hantke, Simone [Verfasser]. "Intelligent Gamified Crowdsourcing for Audio Processing / Simone Hantke." München : Verlag Dr. Hut, 2019. http://d-nb.info/1202168981/34.

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Sampaio, Livia. "Funny Games: o cinema cru de Michael Haneke." Faculdade de Comunicação, 2015. http://repositorio.ufba.br/ri/handle/ri/23551.

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Esta pesquisa aborda as estratégias narrativas e estéticas articuladas no filme Funny Games (1997), do diretor austríaco Michael Haneke, a fim de causar determinadas sensações no espectador. Pretende-se identificar de que forma o estupor causado por este filme, considerado violento e cruel, ao invés de sentenciar o Haneke a um provável ostracismo, abriu as portas do disputado mercado internacional para seus filmes posteriores, com a peculiaridade de ter um remake norte-americano, feito pelo próprio diretor, dez anos depois. No primeiro momento serão analisados os elementos que dão forma ao filme. Para o estudo da narrativa será priorizado o trabalho de Paul Ricoeur. As abordagens de David Bordwell embasarão questões específicas da arte cinematográfica, tanto relacionadas com a narrativa quanto com o estilo. Em seguida, serão apresentados alguns dados sobre a recepção dos filmes de Michael Haneke para contextualizar a reação do espectador de Funny Games no universo fílmico do diretor. Por fim, será feita a análise deste filme, no âmbito de produção dos seus filmes austríacos, com o propósito de mostrar que as emoções convocadas por Funny Games são fruto das estratégias calculadas com precisão para impactar o público através de uma trama que coloca em evidência uma prática perturbadora: a crueldade. Como resultado, pretende-se demonstrar que a elaboração rigorosa de Haneke é a chave para manter e ampliar a visibilidade sobre seus filmes, que persistem nos temas indigestos.
This research addresses the narrative and aesthetic strategies in the film Funny Games (1997), by the Austrian director Michael Haneke, articulated with the purpose of causing certain sensations in the viewer. The aim is to identify how the stupor caused by this film, considered violent and cruel, instead of sentencing Haneke to a probable ostracism, opened the doors of the disputed international market for his later films, with the peculiarity of having an American remake, made by the director himself, ten years later. At first we will consider the elements that form the film. For the analysis of the narrative we will prioritise the work of Paul Ricoeur. The approaches of David Bordwell will support specific issues of the cinematic art, both related to the narrative as to the style. Then we introduce some data on the reception of Michael Haneke’s films, to contextualise the Funny Games viewer's reaction in the filmic universe of the director. Finally, we will analyse the film, in the context of the production of Haneke’s Austrian movies, with the purpose of showing that the emotions convened by Funny Games are the result of strategies precisely calculated to impact the public through a plot that highlights a disturbing practice: cruelty. With that, we intend to demonstrate that Haneke’s rigorous development is the key to maintaining and increasing the visibility of his movies, that persist with hard to digest, disturbing themes.

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Hofer, Stefan. "Die Ökologie der Literatur : eine systemtheoretische Annäherung : mit einer Studie zu Werken Peter Handkes /." Bielefeld : Transcript, 2007. http://bibpurl.oclc.org/web/33659.

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22

Rhee, Handoo V. "Androgen deprivation therapy (ADT), metabolic syndrome and metastatic prostate cancer: In vivo and in vitro assessments of effects of metformin." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/118290/2/Handoo%20Rhee%20Thesis.pdf.

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This thesis describes a translational research approach to identifying a cancer mechanism driven by metabolic syndrome. It examines the impact of androgen deprivation therapy, its association with metabolic syndrome and prostate cancer progression, and the therapeutic and metabolic benefits of adjuvant metformin. The study investigates with a randomized placebo controlled clinical trial, with characterization of the molecular mechanism of metformin in vitro using conditions to mimic physiological hormonal milieu.

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23

Schmidt, Volker. "Die Entwicklung der Sprachkritik im Werk von Peter Handke und Elfriede Jelinek eine Untersuchung anhand ausgewählter Prosatexte und Theaterstücke /." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:16-opus-85119.

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Hanika, Markus [Verfasser]. "Zur Permeation durch aluminiumbedampfte Polypropylen- und Polyethylenterephtalatfolien / Markus Hanika." Aachen : Shaker, 2004. http://d-nb.info/972042733/34.

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25

Sato, Julio. "A imagem e a palavra em Handke e Wenders." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-08022010-104218/.

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Esta dissertação é fruto da pesquisa interdisciplinar acerca da coocorrência de imagem (código não verbal) e palavra (código verbal) na literatura e no cinema alemães, através de um recorte que resulta em obras de um cineasta e um escritor de língua alemã específicos. Discuto inicialmente algumas teorias que podem lançar alguma luz sobre o par palavra-imagem. Posteriormente verifico o problema da coocorrência a partir das obras escolhidas e sua análise. Lanço um olhar sobre um fenômeno particular para encontrar nele aquilo que é geral no que diz respeito ao uso da palavra e da imagem na obra de arte e na comunicação, passando pela questão da faculdade poética que reside, potencial, em cada ato de linguagem, em cada criação imagética ou linguística, de qualquer manifestação humana de comunicação.
This dissertation is resultant of an interdisciplinary research on co-occurrence of image (non verbal code) and word (verbal code) in German literature and cinema, considered through the analysis of two specific German speaking authors: a writer and a filmmaker. Initially I discuss some theories that may shed some light on the word-image question. Then I verify the problem of the co-occurrence based on the selected works and their analysis. I put an eye on the particular phenomenon in order to search for what is general in whatever concerns the use of word and image in the work of art and in the communication, going through the question of the poetic faculty that resides, potentially, in each language act, in each imagetic or linguistic creation, in any human communication manifestation.

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Nguyen, Van Hoa. "A Graphical User Interface For The Hanabi Challenge Benchmark." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-94615.

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Denna rapport beskriver utvecklingen av ett grafiskt gränssnitt för utvärderingsverktygetHanabi Challenge Benchmark. Utvärderingsverktyget grundar sig på det populärakortspelet Hanabi och presenterar sig själv som en ny riktlinje för forskningav artificiell intelligens med fokus på multi-agentbaserade kooperativa utmaningar.Syftet och målet med projektet är att analysera, tolka och visualisera datat frånverktyget för att skapa en bättre förståelse av verktyget.Ett grafiskt gränssnitt utvecklas sedan genom att använda kunskaper inom theoryof mind i kombination med teorier inom människa-datorinteraktion. Resultatenav detta projekt utvärderas genom ett småskaligt användarbarhetstest. Användareav olika åldrar, kön och nivåer av datorkunskap testade applikationen och ficksedan svara på en enkät. Resultatet av enkäten gjorde grund för utvärderingen avkvaliteten för det grafiska gränsnittet.
This report will describe the development of the Graphical User Interface (GUI) forthe Hanabi Challenge Benchmark. The benchmark is based on the popular cardgame Hanabi and presents itself as a new research frontier in artificial intelligencefor cooperative multi-agent challenges. The project’s intentions and goals are tointerpret and visualize the data output from the benchmark to give us a better understandingof it.A GUI was then developed by using knowledge within theory of mind in combinationwith theories within human-computer interaction. The results of this project wereevaluated through a small-scale usability test. Users of different ages, gender andlevels of computer knowledge tested the application and through a questionnaire,the quality of the GUI was assessed.

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Hardy, Francesca Minnie. "Vital resonances : encountering film through Varda, Haneke and Nancy." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709217.

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Desbrière-Nicolas, Brigitte. "Identité et appartenance dans l'oeuvre narrative de Peter Handke /." Berne ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35560729t.

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Roelcke, Thorsten. "Dramatische Kommunikation : Modell und Reflexion bei Dürrenmatt, Handke, Weiss /." Berlin ; New York : W. de Gruyter, 1994. http://catalogue.bnf.fr/ark:/12148/cb369573996.

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Handke, Stefan [Verfasser]. "Die deutsche Finanzmarktpolitik im Schatten der Krise / Stefan Handke." Hannover : Technische Informationsbibliothek und Universitätsbibliothek Hannover (TIB), 2012. http://d-nb.info/1031496971/34.

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Kappes, Christoph. "Schreibgebärden : zur Poetik und Sprache bei Thomas Bernhard, Peter Handke und Botho Strauss /." Würzburg : Königshausen & Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2704064&prov=M&dok_var=1&dok_ext=htm.

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Camion, Arlette. "Image et écriture dans l'oeuvre de Peter Handke : 1964-1983." Lille 3, 1989. http://www.theses.fr/1989LIL30024.

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La première partie de l'oeuvre de Handke, expérimentale, privilégie le visuel sur le discursif, la statique de l'image sur la dynamique du récit, le laconisme des arts plastiques contemporains sur la confiance dans le pouvoir représentatif de la littérature. Inspirée par les méthodes de l'avant-garde d'une part et par le nouveau roman d'autre part, l'écriture rend un réel fragmenté en images qui ne se rattachent à aucun sujet. Dans les romans de la seconde période, celui-ci apparaît progressivement, mais comme le sujet d'une perception hebétée et malheureuse; l'écriture emprunte au cinema les effets de surface et d'exteriorité, le montage des scènes en plans juxtaposes. Le réel se donne comme le monde en images, comme l'ordre du simulacre. Par l'intuition d'une spatialité non plus frontale et morcelée, mais totale et englobante, l'amorce toutefois le passage de la perception à la vision qui determine la troisieme partie de l'oeuvre etudiée. La tétralogie du "lent retour" se comprend comme le projet d'une éducation du regard et une mise au point des rapports du sujet et de l'espace. Le modele de l'image picturale et la decouverte de la peinture de Cézanne en particulier sont décisifs: l'unité de l'espace exterieur et de l'espace intime et imaginaire que Cézanne met en scene inspire une recherche de l'écriture qui entend se situer au-delà du doute et du mal et qui, sans rien perdre de sa precision, depasse le percu pour atteindre le sensible. Ainsi l'image a-t-elle conduit d'une pratique de type presque plastique à une esthetique de la reproduction d'abord et enfin à une ethique de l'activite d'ecriture
The first, experimental work of peter handke favouret the visual over the discursive, the static image over the dynamic narrative, the laconism of the plastic arts over the confidence of literature in its representative power. Inspired by the methods of the avant-garde and by the "nouveau roman", his writing renders a reality fragmented into images that relate to no particular subject. In the novels of his second period, it appears progressively, but only as the subject of a numbed and discontented perception; his writing borrows from the cinema its surficial effects, the montage of juxtaposed scenes. The real is rendered as a world of images, as a sham. By the intuition of a spatiality no longer frontal but total and all-encompassing, handke achieves the passage from perception to vision that determines the third part of his work. The "slow return" tetralogy is to be understood as an education of "seeing" and the development of the relationship between subject and space. The model of the pictorial image and the discovery of the painting of cezanne in particular are determinant : the unity of exterior space and the intimate, imaginery space depicted by cezanne inspires the search of writing that would place itself beyond doubt and evil and that, without losing any of its precision, goes beyond the perceived to achieve the sensed. Thus the image led grom a plastic practice first to an aesthetic of reproduction and finally to an ethic of writing

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Lex, Egila. "Peter Handke und die Unschuld des Sehens : Untersuchungen zum Verhältnis von Sehvorgängen und Sprache in Peter Handkes Prosa und Gedichten /." Thalwil-Zürich : Paeda-Media-Genossenschaftsverl, 1985. http://catalogue.bnf.fr/ark:/12148/cb34937005h.

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Hancke, Madeleine Annalise. "Die organisasiekultuur van 'n Suid-Afrikaanse Polisiediensstasie / Madeleine Annalise Hancke." Thesis, Potchefstroom University for Christian Higher Education, 2000. http://hdl.handle.net/10394/1664.

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Garcia, Leonardo de Carvalho. "Cultura de tecidos e análise fitoquímica de Arachis repens HANDRO." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5568.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
Os representantes do gênero Arachis são conhecidos como amendoim, e suas sementes possuem grande quantidade de óleos e proteínas, podendo ser consumidas cruas. A espécie mais cultivada do gênero é Arachis hypogaea, que possui grande importância comercial. Outras espécies são também utilizadas para controle das ervas daninhas e cobertura do solo, assim como ornamentais e na alimentação. Arachis repens, popularmente conhecida como grama amendoim, é utilizada como planta ornamental, na formação de pastagens, como forragem e para cobertura do solo em substituição a várias espécies comuns de grama. Diversas substâncias bioativas têm sido identificadas em A. hypogaea. Contudo, estas substâncias ainda não foram descritas em outras espécies do gênero. O objetivo deste trabalho foi o estabelecimento de sistemas de cultivo in vitro para Arachis repens, visando à micropropagação e à análise comparativa da produção de resveratrol em extratos alcoólicos dos materiais produzidos in vitro, em comparação com as plantas in vivo. Segmentos nodais, internodais e foliares foram excisados de plantas in vitro e inoculados em meio MS suplementado com diferentes concentrações de BAP, TDZ, AIA e KIN, utilizados isoladamente ou em combinação. Os explantes apresentaram respostas distintas de acordo com o regulador de crescimento utilizado. Na presença de BAP foi observada a formação de calos compactos, com formação de brotos em diferentes taxas. Na presença de TDZ, segmentos nodais e internodais formaram calos compactos em todas as concentrações. Segmentos nodais cultivados na presença de diferentes concentrações de AIA em combinação com KIN apresentaram a formação de calogênese. Foi também realizada uma avaliação da atividade antioxidante e a presença de fenóis totais em extratos de diferentes materiais in vivo e produzidos in vitro. Nas análises por meio de CLAE, foi possível detectar a presença de resveratrol tanto nos materiais in vivo, quanto os produzidos in vitro. Dessa forma, o trabalho forneceu resultados preliminares sobre as possibilidades de utilização de A. repens para a produção de metabólitos especiais.
Arachis species are known as groundnut and their seeds display high oil and protein contents, being consumed in natura. The most common commercially cultivated species of the genus is Arachis hypogaea. Other Arachis species can also be used as food, ornamental, ground cover and provide weed control. Arachis repens, commonly known as grama amendoim, is used as an ornamental, forage legume and ground cover in substitution of common grass species. Different bioactive substances have been identified in A. hypogaea. However, these substances have not been described in other species of the genus. The goal of this work was the establishment of in vitro culture for Arachis repens, aiming at the micropropagation and the comparative analysis of the resveratrol production in ethanolic extracts of the in vitro produced material, in comparison to in vivo plants. Nodal, internodal and leaf segments were excised from in vitro plants and inoculated on MS medium supplemented with different concentrations of BAP, TDZ, IAA and KIN, used alone or in combination. Explants showed distinct responses in according to the growth regulator used. In the presence of BAP, compact calluses were formed, with the production of shoots in different frequencies. In the presence of TDZ, nodal and internodal segments formed compact calluses in response to all concentrations. Nodal segments cultivated in the presence of different IAA concentrations in combination with KIN showed callogenesis The evaluation of antioxidant activity and the presence of total phenolics in extracts of different in vivo and in vitro materials was also evaluated. The HPLC analysis detected the presence of resveratrol in the materials produced in vivo and in vitro. Therefore, this work provided preliminary results about the possible use of A. repens for the production of special metabolites.

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Hanass-Hancock, Jill [Verfasser], Ernst von [Gutachter] Kardorff, and Bernd [Gutachter] Overwien. "Invisible / Jill Hanass-Hancock ; Gutachter: Ernst von Kardorff, Bernd Overwien." Berlin : Humboldt-Universität zu Berlin, 2008. http://d-nb.info/1208080059/34.

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Barthélemy, Lambert. "Fictions contemporaines de l'errance (Peter Handke, Cormac McCarthy, Claude Simon)." Montpellier 3, 2003. https://eu02.alma.exlibrisgroup.com/view/uresolver/33PUDB_UBM/openurl?u.ignore_date_coverage=true&portfolio_pid=53224216040004674&Force_direct=true.

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Ce travail s'interroge sur la mise en fiction de l'errance dans les romans de Peter Handke, Cormac McCarthy et Claude Simon. Il aborde tout d'abord l'errance en tant qu'expérience fictive, en propose une caractérisation à partir de quatre notions principales : l'évasion, le dédoublement, la désorientation, la désynchronisation. L'étude s'attache dans un second temps à la configuration de cette expérience, proposant une analyse des principaux procédés poétiques par lesquels l'errance saisit l'écriture : l'exubérance lexicale et syntaxique, la très large dominance du descriptif, l'indétermination du sens produite par l'agencement d'ellipses, par la dispersion de l'information, et par un régime énonciatif marqué par l'hypothèse, toutes ces qualités contribuent à la délinéarisation du texte. Dans la foulée de cette approche poétique, un troisième moment s'attache à l'analyse des relations intertextuelles qui structurent très densément les œuvres des trois romanciers, et permettent de penser l'errance en termes de déplacement textuel, ou de dérivation
IThis study puts into question the fictionalization of wandering in the novels by Peter Handke, Cormac McCarthy and Claude Simon. Wandering is first considered as a fictitious experience and is determined by four main notions : escape, doubling, disorientation and disynchronization. Then the study turns onto the textualization of this experience and analyses the main poetical strategies that make the writing wander : lexical and syntactical exuberance, predominance of the description, the indeterminacy of meaning produced by frequent use of ellipses, fragmentation of information and an hypothetic mode of enouncement. All these characteristics contribute to shatter textual linearity. Following this poetical path opened by the second part, a third moment focuses on the analysis of the very dense web of intertextual relations which structures the novels of all three writers and allows to think wandering in terms of textual displacement, or derivation

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Le-Huu, Inka. "Danielle Sperra/Werner Hanak-Lettner (Hg.): Jüdische Museen zwischen gestern und morgen. Reflexionen aus involvierter Außenperspektive." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2015. https://slub.qucosa.de/id/qucosa%3A34925.

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Malaguti, Simone. "Wim Wenders' Filme und ihre intermediale Beziehung zur Literatur Peter Handkes." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/990621642/04.

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Fu, Caiwu. "Jin dai hua jin cheng zhong de Hankou wen hua yu le ye, 1861-1949 yi han kou wei zhu ti de Zhongguo yu le ye jin dai hua dao lu de li shi kao cha /." Wuhan Shi : Hubei jiao yu chu ban she, 2005.

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Heyer, Petra. "Von Verklärern und Spielverderbern : eine vergleichende Untersuchung neuerer Theaterstücke Peter Handkes und Elfriede Jelinek /." Frankfurt am Main : Peter Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb39976243w.

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Rejas, Cano Susana Angélica. "Menos es más : el diseño de sonido minimalista de Michael Haneke en las películas caché (2005), Das weiBe Band (2009) y Amour (2012)." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9188.

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El presente trabajo de investigación tiene como objetivo describir el diseño de sonido minimalista y analizar en qué medida intensifica la narración en las películas Caché (2005), Das weiße Band (2009) y Amour (2012) al crear atmósferas de misterio y suspenso. La investigación es cualitativa interpretativa ya que se centra principalmente en la observación, descripción y análisis de productos ya realizados, y de los cuales se busca explicar cómo es que funciona el diseño de sonido minimalista de Michael Haneke en sus tres películas. La unidad de análisis es el diseño de sonido minimalista de Michael Haneke en sus tres películas, en especial en Caché (2005), Das weiße Band (2009) y Amour (2012). El instrumento para la recolección de datos en esta investigación es el análisis de contenido ya que permite una mejor exploración, descripción, análisis y entendimiento. Con esta investigación se busca mostrar una de las opciones en la que el diseño de sonido aporta a la narración audiovisual, en este caso al ser minimalista.
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Polley, Kerry A. "Ceci n'est pas un film visual perception in Michael Haneke's 'Caché' /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1250228246.

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Hanika, Tom [Verfasser]. "Discovering Knowledge in Bipartite Graphs with Formal Concept Analysis / Tom Hanika." Kassel : Universitätsbibliothek Kassel, 2019. http://d-nb.info/1180660811/34.

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Hantke, Maren [Verfasser]. "Two-phase flows with phase transitions : modelling, analysis, numerics / Maren Hantke." Magdeburg : Universitätsbibliothek, 2018. http://d-nb.info/1159954860/34.

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Cassales, Lucas Pereira. "A representação do mal-estar líquido no cinema de Michael Haneke." Pontifícia Universidade Católica do Rio Grande do Sul, 2015. http://hdl.handle.net/10923/7257.

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This dissertation analises the work of the austrian director Michael Haneke, placing it as a cinematographic representation of the liquid discomfort. To do so, first, it makes a historical and social survey about the elements that compose the liquid discomfort. Then, it studies is forming concepts, through the work of Jean Braudillard and, mainly, through the liquid theory of Zygmunt Bauman, characterizing the liquid discomfort from those theories. From that point, it brings Haneke as an author, to allow the use of his cinematography in terms of filmic representation of the liquid discomfort. As a methodological model of analysis, it bases in Aumont and Dubois to create an hybrid method of a more fluid and essay-like way: the narrative analysis. Supported in this progression, it analyses Haneke's first two feature films comercially distributed in screening rooms, The seventh continent (1989), and Benny’s video (1992), with the intent of showing its hipothesis.
Esta dissertação analisa a obra do diretor austríaco Michael Haneke, posicionando-a como uma representação cinematográfica do mal-estar líquido. Para isso, em um primeiro momento, faz um levantamento histórico e social a respeito dos elementos que compõem o mal-estar líquido. Posteriormente, estuda seus conceitos formadores, através do trabalho de Jean Baudrillard e, principalmente, da teoria líquida de Zygmunt Bauman, caracterizando o mal-estar líquido a partir dessas teorias. Em seguida, traz a figura de Haneke como autor, para possibilitar a utilização de sua cinematografia em termos de representação filmográfica do mal-estar líquido. Como um modelo metodológico de análise, se baseia em Aumont e Dubois para criar um método híbrido de análise mais ensaística e fluida: a análise narrativa. Apoiada nesta progressão, parte para a análise dos dois primeiros longas-metragens de Haneke lançados comercialmente em salas de exibição, sendo eles O sétimo continente (1989) e O vídeo de Benny (1992), com o intuito de demonstrar suas hipóteses

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Weys, Daniël Jan. "Responsible filmmaking: ethics and spectatorship through the lens of Michael Haneke." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/24933.

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My dissertation uses, as starting point, an interview with Michael Haneke in which the Austrian filmmaker criticises Downfall and Schindler's List for manipulating audiences and for generating entertainment from real-life and unspeakable horrors. He argues that filmmakers have a responsibility to enable audiences to form their own opinion regarding a film and its subject matter. I set forth to engage, theorise and develop Haneke's call for responsibility by asking the following questions as I move chronologically through his films: why is responsible filmmaking important, how does Haneke approach his own filmmaking and how does a responsible approach to filmmaking influence the position of spectators. Firstly, I draw from Stanley Cavell's film theory to read our current experience in a media saturated society, describing the ways in which the media positions and influences the characters' understanding of the world and their relationships with each other in The Seventh Continent, Benny's Video and 71 Fragments of a Chronology of Chance. Thereafter, I discuss Haneke's use of genre in Funny Games, the long take and continuity editing in Code Unknown, music in The Piano Teacher and sound in Time of the Wolf to analyse Haneke's approach to filmmaking. My readings are underpinned by Cavell's understanding of automatism and the manner in which Haneke uses and reflects upon film's automatisms. Finally, I illustrate Levinas' concept of responsibility for the Other through a reading of Georges and Majid's relationship in Caché, Kelly Oliver's work on witnessing in The White Ribbon and Judith Butler's work on responsibility in Amour in order to demonstrate how Haneke's responsibility ensures the audience's response-ability.

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Mouline, Nabil. "Les héritiers des Prophètes : sociologie historique de la tradition hanbalo-wahhâbite." Paris, Institut d'études politiques, 2010. http://www.theses.fr/2010IEPP0040.

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Reconstituer la généalogie de la tradition hanbalo-wahhâbite, retracer sa trajectoire historique, décrire ses doctrines et ses pratiques, déterminer son identité, saisir les permanences et les changements qui la traversent, telles étaient les ambitions de ce travail. Son étude dans la longue durée nous a en effet permis de passer en revue les variables historiques, sociales et politiques qui présidèrent à la mise en place d'une morale de responsabilité et d'un processus de routinisation au sens wébérien dans le but de préserver et de transmettre l'orthodoxie, l'orthopraxie et l'ordre politique
The aims of this work were to deconstruct the genealogy of the hanbalo-wahhâbi tradition, trace its historical trajectory, describe its doctrines and practices, determine its identity, and examine the continuities and changes that characterize it. The study of this tradition in the longue durée has enabled us to review and re-consider historical variables, and social policies which directed the establishment of an ethic of responsability and a process of routinization to preserve and transmit orthodoxy, orthopraxy and political order

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Fleishman, Ian Thomas. "An Esthetics of Injury: The Narrative Wound from Baudelaire to Haneke." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10926.

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Gouws, Anjo-Mari. "Being-towards-death : Heideggerian ontology in selected films of Michael Haneke." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/28577.

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This study investigates certain existential themes found in the work of Austrian director Michael Haneke. As such the focus is on the existential philosophy of Martin Heidegger, specifcally Heidegger’s notion of Being as always being-towards-death. There are six flms under discussion – the three flms comprising his Vergletscherung-trilogie (Der Siebente Kontinent, Benny’s Video and 71 Fragmente einer Chronologie des Zufalls), and his later flms Funny Games, La Pianiste, and Caché. Michael Haneke has been lauded as “Austria’s most esteemed and most controversial active flmmaker” (Frey 2003:1), a director whose work transgresses the boundaries of mainstream flm in terms of both its form and content. In fact, the director argues, he is responsible for “rap[ing] the spectator to independence”. Haneke’s work features a solid measure of existential themes, examining the alienation and isolation of the individual, the despair brought on by the monotony of modern society, and the seeming meaninglessness of man’s existence. This study aims to show that much of Haneke’s existential thought can be drawn back to Heidegger’s concept of Being, and the various ways in which Being is constituted. Focusing particularly on the notion of Being as being-towards-death, two other constitutive elements are also included – Being as always being-in-the-world and Being as always being-with-others. Being-in-the-world is examined on two fronts, looking at Haneke’s treatment of the public space, and of the domestic setting of the home. Beingwith- others is likewise elucidated in terms of the perspective Haneke offers on society as Heidegger’s Das Man, and the more intimate relationships within the family unit. By coupling these elements with Heidegger’s notions of thrownness, anxiety and the nothing, this study thus investigates how Haneke’s rendition of being-in-the-world and being-withothers inevitably, and fundamentally, means being-towards-death.
Dissertation (MA)--University of Pretoria, 2012.
Visual Arts
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Dissertations / Theses on the topic 'Hanako'

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