Dissertations / Theses on the topic '"Road movies"'

This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality,freedom, and rebellion. The first period, what I term the "founding" period of the road moviegenre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that of the "minority" road movie, occurs largely in the 1990s and includes Ridley Scott's Thelma & Louise (1991), Gregg Araki's The Living End (1992), and Spike Lee's Get on the Bus (1996). Emphasizing the cinematic worlds, narrative trajectories, and identity politics of the road movie, I argue that "founding" road movies, though usually homogeneous in their portrayals of identity, are significant for later minority road movies because they establish points of rebellion that negotiate between dominant and marginal social relations that minority road movies would later revisit. These minority road movies (re)interpret the generic raw material of the past, tapping into a number of subgenres as well as themes of marginality, freedom, and rebellion, in order to introduce new identities to the genre. Important to the many exchanges between the two periods is the interplay of subgenres; as I will discuss, many of these films borrow, critique, and subvert the generic precedents of the past.
Cette thèse examine deux périodes clés du genre cinematographique des 'road-movies' américains en se concentrant sur les formations identitaires telles qu'elles sont articulées à travers les thèmes de la marginalité, de la liberté, et de la rébellion. La première période, que je qualifierais de période fondatrice du genre 'road-movie', comprend six films des années 1960 et1970: Bonnie and Clyde d'Arthur Penn (1967), Easy Rider de Dennis Hopper (1969), The Rain People de Francis Ford Coppola (1969), Two-Lane Blacktop de Monte Hellman (1971), Vanishing Point de Richard Sarafian (1971), et Road Movie de Joseph Strick (1974). La deuxième période du genre, que j'identifierais comme celle du 'road-movie' « minoritaire », est produite en grande partie dans les années 1990 et comprend Thelma & Louise de Ridley Scott(1991), The Living End de Gregg Araki (1992), et Get on the Bus de Spike Lee (1996). En soulignant les univers cinématiques, les trajectoires narratives, et les politiques identitaires, je soutiens que les films «fondateurs», souvent homogènes dans leurs représentations identitaires, sont importants pour les « road-movies » minoritaires ultérieurs car ils établissent des points derébellion négociant entre des rapports sociaux de dominants a marginaux, eux-meme plus tard revisités par les films minoritaires. Ces « road-movies » minoritaires réinterpretent les matériaux génériques bruts du passé, mettant en valeur un certain nombre de sous-genres ainsi que les thèmes de la marginalité, la liberté, et la rébellion, afin d'introduire de nouvelles identités au genre. Le jeu des sous-genres est lui-meme important dans les nombreux échanges entre les deux périodes : je débats que plusieurs de ces films empruntent, critiquent et subvertissent les précédents génériques du passé.

Cette thèse, après avoir examiné l'imaginaire de la route dans la culture et la civilisation américaines, définit un corpus de quarante films grâce à une analyse des modes de production et de réception. L'histoire du road movie comprend trois périodes : entre 1969 et 1975, il émerge en tant que genre lié au Nouvel Hollywood ; entre 1975 et 1983, il subit une éclipse partielle aux États-Unis, tandis que W. Wenders l'introduit en Europe ; il connaît une résurgence à partir de 1984 et s'impose comme un genre international hybride situé au croisement du cinéma d'auteur et du cinéma commercial. L'analyse du corpus (qui combine l'approche sémantique/syntaxique de R. Altman et la démarche sémiologique de C. Metz) conduit à proposer que le road movie offre une vision à la fois documentaire et contemplative du réel. L'image a souvent un caractère centripète et hypnotique qui, combiné à une utilisation codifiée de la musique, entraîne le spectateur dans une fuite en avant. En opposant espaces de mobilité et de sédentarité, le road movie donne une image nouvelle du pays parcouru. Enfin, en jouant sur trois possibilités narratives (quête, cavale, dérive), il a une logique picaresque
This dissertation, after examining the resonance of the road in American culture and civilization, defines a forty-film corpus by analyzing the genre's modes of reception and production. The history of the road movie includes three periods: between 1969 and 1975, it emerged as a genre linked with the New Hollywood, then, between 1975 and 1984, it partly disappeared in the U. S. , while W. Wenders transferred it to Europe. Since 1984, it has settled as an international hybrid, located at the crossroads of art and mainstream cinema. The analysis of the corpus (combining R. Altman's semantic/syntactic and C. Metz's semiological approaches) establishes that the genre presents a contemplative, almost documentary vision of reality. Road movie images are often centripetal and hypnotic, which, combined with a codified use of music, draws viewers endlessly forward. The genre, by contrasting spaces of mobility with spaces of settlement, portrays the countries crossed by its heroes. By combining three narrative possibilities (quest, flight, and drifting), it has a picaresque logic

A pesar de ser relativamente poco conocido, estudiado y difundido, el cine boliviano ha sido esencial para el desarrollo del cine indigenista y para la constitución del cine latinoamericano desde la segunda mitad del siglo XX. Pero su gran aporte también ha sido su gran estigma, pues con frecuencia se ha relacionado al cine boliviano únicamente con su vertiente indigenista, ignorando sus otras expresiones. Esta tesis tiene como objetivo principal realizar una lectura transversal del cine boliviano, que permita identificar como este ha registrado y observado a su país, a sus procesos políticos, sociales y culturales. Tomando como elemento temático recurrente al viaje, a la migración interna y externa, este trabajo se concentra en lo que se puede denominar como las road movies bolivianas, las películas de carretera bolivianas. La investigación pretende contribuir, desde una perspectiva nueva, al estudio, a la comprensión y a la reflexión sobre el cine boliviano, sobre su rol, sobre sus posibilidades y sobre sus pretensiones. También quiere demostrar de qué manera el registro cinematográfico de la migración puede ser un elemento fundamental a la hora de estudiar la historia política, social y cultural de Bolivia. Reflexionando sobre el género cinematográfico y sobre su adaptación local, sobre los caminos que ha tomado el cine boliviano, sobre las películas de carretera de amigos, sobre las películas de persecución, sobre la anti-road movies, sobre las películas sobre procesos migratorios nacionales e internacionales, sobre las historias de retorno al lugar de origen y sobre los filmes dedicados a la figura de Evo Morales, esta tesis trata temas importantes para la historia de Bolivia, como el racismo, el clasismo, el machismo, la construcción de identidades y la relación del individuo con el Estado. Se propone al cine como un elemento esencial para el estudio de la historia boliviana y para la construcción de sus discursos dominantes.
Bolivian cinema stand among the least studied film traditions in the world. In spite of this, its importance in the development of indigenist cinema, and the configuration of Latin American cinema in the second half of the 20th century, is out of question. Yet, this great contribution is also a stigma Bolivian cinema has to bear; for Bolivian films are usually (and often restrictively) associated with indigenism and its cinematic representation, ignoring any other manifestations it contains. The main objective of this thesis is to read Bolivian cinema transversally, attempting to identify how it has recorded and observed its country through some major political, sociological and cultural events that took place through the past century. Exploring the idea of travel as a recurring narrative device, this thesis focuses in Bolivian road movies as a path into such an inquiry. The goal of this thesis is to provide a new perspective on the understanding of Bolivian cinema, to illuminate new ways of thinking about its role as a national artform, its limitations, possibilities and projections. In a wider sense, the main contribution of this project is the confirmation of a hypothesis holding that, as it is the case with many other countries and traditions, cinema is a key element in the study of Bolivian History. We thus seeks to show how the cinematographic recording of migration is essential for the study of Bolivia's political, social and cultural history. This thesis revisits questions concerning the road movie as a genre (naturally, focusing on the Bolivian version of the genre), Bolivian cinema's representation of roads and pathways, and the prevalence of buddy movies', chase films' and anti-road movies' tropes in Bolivian road movies; but also analyzes the relationship between movies as a representation of internal and external migration in Bolivia, self-discovery trips characters undertake (usually on their way back home), and finally looks at films portraying the different aspects of Evo Morales' public image. In such a path it is that our research deals with crucial subjects for Bolivian history: racism, classism, sexism, the construction of identities and the relationship between the individual and the State.

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A presente tese pretende investigar a mudança na representação da identidade cultural analisando o papel alegórico desempenhado pela estrada nos road movie brasileiros lançados entre 1960 e 2015. A hipótese revela que este grupo de obras fílmicas apresenta, num determinado momento histórico, representações de identidade coletiva (a identidade nacional), modificando-se posteriormente, para representar uma identidade fragmentada. Como resultado desse esforço observa-se a existência daquilo que presentemente estamos chamando de duas fases do road movie brasileiro: a “Viagem Física” (congrega filmes lançados entre a década de 1960 até 1998) e a “Jornada Interior” (com filmes de 1998 até 2015). O que mais diferencia essas duas fases são as alegorias assumidas pela estrada nestes road movies, que se modificam, ao mesmo tempo em que se verifica mudança na própria identidade cultural, esta última confirmada em autores como Anderson (2008); Bauman (2008, 2001, 1998) e Hall (2005). Se na primeira fase a estrada é apresentada como uma alegoria da nação e do povo brasileiro, na segunda fase, começa a representar a transformação individual, odisseia subjetiva, um espaço existencial, de transformação, que se configura como um ritual de passagem. A tese é amparada, para além dos fundamentos teóricos, na análise fílmica de seis películas: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Assim, se busca demonstrar, observando a representação de algumas características sociais e culturais presentes no cinema nacional, a real confluência entre as mudanças alegóricas nos road movies brasileiros com as transformações na construção da nossa própria identidade cultural.
This thesis aims to investigate the change in the representations of the cultural identity by analyzing the allegorical role played by the road in the Brazilian road movies released between 1960 and 2015. The hypothesis is that this group of films brings about, in a given historical moment, representations of collective identity (national identity), but changing later to represent a fragmented identity. As a result of this effort one might find the existence of what is now being called the two phases of the Brazilian road movie: the "Physical Journey" (congregating films released between 1960 to 1998) and the "Journey Within" (films from 1998 to 2015). What most distinguishes these two phases are the allegories personified by the road in these road movies, which change at the same time that changes in the cultural identity occur, the latter being confirmed by authors such as Anderson (2008); Bauman (2008, 2001, 1998) and Hall (2005). If the first phase, the road is presented as an allegory of the nation and of the Brazilian people, whereas in the second phase it begins to represent the individual transformation, the subjective odyssey, an existential space of transformation, which is configured as a rite of passage. The thesis is supported, in addition to the theoretical foundations, by the cinematic analysis of six films: Iracema, uma transa amazônica (BODANZKY; SENNA, 1974); Bye bye Brasil (DIEGUES, 1979); Jorge, um brasileiro (THIAGO, 1988); Central do Brasil (SALLES, 1998); Cinemas, aspirinas e urubus (GOMES, 2005) e Dromedário no asfalto (VARGAS, 2014). Thus, this work seeks to show, by watching the representation of some social and cultural characteristics present in the national cinema, the real confluence between the allegorical changes in Brazilian road movies with those in the construction of our own cultural identity.

Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015.
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O objetivo desta tese é analisar os filmes que iniciam a trilogia on the road do cineasta alemão Wim Wenders: Alice nas Cidades (Alice in den Städten / 1974), Movimento em Falso (Falsche Bewegung / 1975 ) e No Decurso do Tempo (Im Lauf der Zeit/1976). Por meio da viagem e do ato de viajar, os filmes de Wim Wenders percorrem estradas repletas de temas existenciais que nos ajudam a refletir sobre a condição humana, na contemporaneidade. Nas suas paisagens áridas e impactantes, seus personagens ligam-se a questões como a busca da identidade, a incomunicabilidade do homem no mundo contemporâneo, a poesia, a solidão, os silêncios, os grandes espaços vazios, além da reflexão sobre a transitoriedade da imagem que perpassa a pintura, a fotografia, os gêneros, como o da paisagem, até chegar na transitoriedade do cinema.
The objective of this thesis is to analyze the films that compose the trilogy on the road by the German filmmaker Wim Wenders: Alice in the Cities (Alice in den Städten / 1974), Wrong Move (Falsche Bewegung / 1975) and Kings of the Road (Im Lauf der Zeit / 1976). Through the journey itself and the act of traveling, Wim Wenders films run through roads charged with existential themes that help us reflect on the human condition in contemporary times, considered also from a cultural perspective. In the arid and striking landscapes of the films, the characters are bound to connect to issues such as the search for identity, the lack of communication in the contemporary world, poetry, solitude, silence, geographical emptiness as well as the reflection on the image of transience running through painting, photography, genres such as landscape, until it reaches the transience of cinema itself.

Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des oeuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’oeuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures
Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac,followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literarycriticism, and recently extended by scholars to cinematographic objects. We show how road novels and roadmovies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narrativescalls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures

This paper closely examines fairy tale films with road movie components, in particular those films featuring female protagonists. The study’s objective is twofold: first, to further develop existing research on the road movie by exploring one of the lesser known constituents of this broad genre and, second, to address gaps in scholarly literature on road movies when it comes to themes in female-led trips and the characterization of travelling females. Through a detailed analysis of the journeys of female characters in recent voyage-oriented fairy tale films—Peter Pan (P.J. Hogan, 2003), Alice in Wonderland (Tim Burton, 2010) and Tangled (Byron Howard and Nathan Greno, 2010)—the investigation shows that these new heroines significantly differ from those of old. Their travels are portrayed as being less difficult, and the traits that they exhibit while on the road, namely fearlessness, rationality and an undying optimism, are rather favourable when compared to those exhibited by former road heroines. Although these protagonists still face characters who wish to impede their movement away from a domestic setting, it is demonstrated that the protagonists are ultimately successful in not only acquiring power in the surroundings that they find themselves in, but also in carrying over their goals and dreams to their own worlds upon their return, privileges that most former road heroines did not have. Ultimately, the study shows that females can be as efficient travellers as males, and in some cases are portrayed as even more competent than their male counterparts.

The film representation of the Sámi people has evolved during the last century from the ethnographic portrayals that reproduce a romantic stereotype of the good savages, to feature and documentary films that discuss the Sámi identity and its colonial history. In recent years a new generation of Sámi and Swedish documentary directors have focused their work on analysing the impact that multiple structures of power actually have in the production of the Sámi identity and culture. In this research I explore the intersections of such structures in the documentary road movies Sámi Daughter Yoik (2007) by the Sámi-Swedish director Liselotte Wajstedt, and The Only Image of My Father (2004) by the Swedish director Kine Boman. The main purpose of the research is to examine the discussions of identity that these films propose and to analyse the strategies with which the directors question the simplistic representation of the Sámi people. Based on the postcolonial and intersectional perspectives, the text offers a critique of the discourses of authenticity that confine the Sámi identity into the frame of ethnicity. The study gives special attention to the different layers that the directors' identities involve and their role in the construction of alternative representations of the Sámi people. A relevant finding is that the directors have succeeded in representing the Sámi people as complex and heterogeneous, helped by their choices on genre, authorship and their own approach to identity as a performative, multidimensional and dynamic process.

This Master of Arts project in Creative Writing was submitted to the School of Creative Media at Royal Melbourne University of Technology. It contains a full length feature screenplay for an un-produced road movie entitled Free Radicals. It is primarily a dark love story between the drug-addicted rent boy Roman and the budding actor, the protagonist Jonathan. It is however written in a conventional structure familiar to Hollywood professionals, and a good deal of humour is used to attract interest in the story. The storyline itself is more familiar to the audience of road movies and independent features in the US or European Art House ventures. The exegesis explores the history and the conventions of the road movie genre, in addition to the established and not often debated conventions of screenwriting theory. The thesis attempts to show how these theories were applied to the screenplay and how they influenced the process of writing it within an academic and commercial context. The MA project shows how different expectations may create a conflict in the personal writing process and inspire a product that makes compromises. The reason for reading this project may not only be the product itself but also the insight it offers into a screenwriting profession where it is often important to meet expectations.

This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.

This essay explores the colonial nature of the American road movie, specifically through the lens of how road movies treat the South according to Stuart Hall’s concepts of identity and Edward Said’s on Othering and the colonial gaze. To accomplish this, the essay analyzes the classic 1969 road movie, “Easy Rider”, and the more contemporary parody from 2008, “Harold and Kumar Escape from Guantanamo Bay.” The thrust of this paper becomes: if a progressive parody of road movies cannot escape the trappings of colonialism “Easy Rider” displays, perhaps the road movie itself is flawed.

Citizens in the United States are fortunate to have an excellent system of roadways and the affluence with which to afford automobiles. The flexibility of travel on demand for most allows for a variety of lifestyles, assists with conducting business, and contributes to the feeling of freedom that most citizens enjoy. The current vehicle fleet, which is primarily powered by internal combustion engines burning fossil fuels, does however contribute to the deterioration of air quality. This effect is particularly significant in metropolitan areas. Motor vehicle exhausts contain several combustion bi-products that pose harmful effects to the environment and human health, in particular. The United States Environmental Protection Agency (EPA) and the Federal Highway Administration (FHWA) have selected carbon monoxide (CO) as the air pollutant on which it has based its guidelines for assessing potential air quality impacts from roadway construction (EPA 1992). The design of roadway networks must consider traffic flows, Level of Service (LOS), cost, and National Ambient Air Quality Standards (NAAQS) requirements. In light of the environmental standards it is necessary to model to estimate potential future near-road concentrations of CO. This modeling has two aspects, first determining the rate of pollutant emissions, and second determining how those pollutants disperse near the road. Obtaining a precise, realistic estimate of the near-road CO concentrations under a wide variety of weather and traffic patterns is a potentially huge undertaking. With budgetary constraints in mind, the development of a screening model is appropriate. CO Florida 2012 (COFL2012) is such a model that uses conservative assumptions to predict worst-case, near-road CO concentration. Projects that pass a COFL2012 model run do not require additional air quality modeling. Projects that fail a COFL2012 model run, however, may still be viable, but will require additional, detailed modeling and possibly project modifications. COFL2012 uses tables of emission factors (EFs) that were derived from numerous runs of the EPA's MOtor Vehicle Emission Simulator (MOVES2010a), which is indicated as the preferred model for near-road modeling of CO.(EPA 2009) COFL2012 then inputs the EFs, along with assumed link configurations, geographical assumptions, and user-inputted traffic information into input files that are run through CAL3QHC Version 2.0 (CAL3QHC2), the EPA's approved near-road dispersion model (EPA 1995). COFL2012 is a brand new Florida CO screening model, written from scratch. This author has written the computer code for COFL2012 in Visual Basic, using Microsoft Visual Studios 2010. Visual Studios utilizes the .net Framework 4. COFL2012 is easy to learn, quick to operate, and has been written to allow for future updates simply and easily, whenever the EPA releases updates to the databases that feed MOVES2010a.
ID: 031001416; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: C. David Cooper.; Title from PDF title page (viewed June 17, 2013).; Thesis (M.S.Env.E.)--University of Central Florida, 2012.; Includes bibliographical references (p. 121-122).
M.S.Env.E.
Masters
Civil, Environmental, and Construction Engineering
Engineering and Computer Science
Environmental Engineering

Este projeto analisa quatro filmes da América Latina que têm como ponto comum o fato de estarem centrados em personagens que realizam viagens em seus países de origem (dois filmes) e na América do Sul (outros dois). O objetivo é demarcar nestas obras construídas sob a necessidade do deslocamento, dados constitutivos de identidade e pertencimento a uma dada geografia física e humana. Os que percorrem a América Latina são Diários de Motocicleta, dirigido pelo brasileiro Walter Salles e El viaje la aventura de ser joven, do cineasta argentino Fernando Ezequiel Pino Solanas. Os que centram suas narrativas em território nacional são Central do Brasil, também de Walter Salles, e Facundo, la sombra del tigre, do diretor argentino Nicolás Sarquís. O estudo aborda a relação dessas obras com o contexto cultural e político da América Latina dos anos 60, com destaque pontual a Brasil e Argentina, e discute como se apropriam do gênero road movie. Defende, ainda, que os quatro expõem e traduzem uma das tensões centrais da pós-modernidade, que é a sua convivência com o universo cultural da chamada modernidade sólida. Tal procedimento deriva principalmente da condição de percorrer a estrada e nela afirmar uma identidade configurada por valores quase sempre idealizados e nostálgicos, formando um conjunto de filmes que expressa a persistência das ficções-nacionais e pan-continentais no cinema contemporâneo de Brasil e Argentina.
This project will analyze four Latin American movies that have in common the fact of being centered in characters that travel around their country of origin (two movies) and South America (two other movies). The objective is to demarcate in these movies, which were built under the need of displacement, relevant information regarding the identity and belonging of a given physical and human geography.The two movies that take place in Latin America are Diários de Motocicleta, directed by the Brazilian Walter Salles and El viaje la aventura de ser joven, from the Argentinean filmmaker Fernando Ezequiel Pino Solanas. The other two movies that focus their narratives on national territory are Central do Brasil also from Walter Salles and Facundo, la sombra del tigre from Argentinean director Nicolás Sarquís. The study addresses the relationship of these works with the political and cultural context in Latin America on the 60s, with focus on Brazil and Argentina, and discusses how these movies also appropriate the road movie style. It also defends the idea that these movies expose and reflect one of the central tensions of post-modernity, which is its coexistence with the cultural universe called solid modernity. This procedure comes mainly from the condition of riding the road and on it reaffirming an identity shaped by values that are, almost always, idealized and nostalgic, forming a set of films that express the persistency of national fixation and pan-continental for Brazil and Argentinas contemporary cinema.

Engineers of off-road equipment, on-road vehicles, pavement, and tires must assess the roughness of a terrain surface for the design of their products. The International Roughness Index (IRI), a standardized means of assessing longitudinal road roughness, quantifies roughness based on the average suspension travel for a particular vehicle at a prescribed speed. The Discrete Roughness Index (DRI) developed in this work address fundamental limitations of the IRI. Specifically, the DRI is calculated for each discretely measured location along a terrain surface and is applicable to vehicles traveling at varying speeds and using parameters other than the Golden Quarter-Car on which the IRI is based. The development of the DRI begins with a consistent discretization of the terrain surface, vehicle response, and the IRI. Next the Fractional Response Coefficient is developed, the properties of which are critical in the development of the DRI. The DRI is developed and its properties are discussed through theory and simulation of the ASTM E1926-08 profile. One important property of the average DRI is that it converges to the IRI as the distance between sampled points becomes smaller, for the particular case when the Golden Quarter-Car model is simulated at 80 kph. The DRI is not an alternative to the standard IRI, therefore, but a widely applicable roughness measure of which the standard IRI is a single specialized application.
Master of Science

Moving objects database systems are the most challenging sub-category among Spatio-Temporal database systems. A database system that updates in real-time the location information of GPS-equipped moving vehicles has to meet even stricter requirements. Currently existing data storage models and indexing mechanisms work well only when the number of moving objects in the system is relatively small. This dissertation research aimed at the real-time tracking and history retrieval of massive numbers of vehicles moving on road networks. A total solution has been provided for the real-time update of the vehicles’ location and motion information, range queries on current and history data, and prediction of vehicles’ movement in the near future. To achieve these goals, a new approach called Segmented Time Associated to Partitioned Space (STAPS) was first proposed in this dissertation for building and manipulating the indexing structures for moving objects databases. Applying the STAPS approach, an indexing structure of associating a time interval tree to each road segment was developed for real-time database systems of vehicles moving on road networks. The indexing structure uses affordable storage to support real-time data updates and efficient query processing. The data update and query processing performance it provides is consistent without restrictions such as a time window or assuming linear moving trajectories. An application system design based on distributed system architecture with centralized organization was developed to maximally support the proposed data and indexing structures. The suggested system architecture is highly scalable and flexible. Finally, based on a real-world application model of vehicles moving in region-wide, main issues on the implementation of such a system were addressed.

Flexible road pavements often fail due to excessive rutting. as a result of cumulative vertical permanent deformation under repeated traffic loads. The currently used analytical approach to flexible pavement design evaluates the pavement life in terms of critical elastic strain at the top of the subgrade. Hence, the plastic pavement behaviour is not properly considered. Shakedown analysis can take into account the material plasticity and guarantee structure stability under repeated loads. It provides a more rational design criterion for flexible road pavements. Finite element analyses using the Tresca and Mohr-Coulomb yield criteria are performed to examine the responses of soil half-space when subjected to different loading levels. Both shakedown and surface ratchetting phenomena are observed and the residual stresses are found to be fully-developed after a limited number of load passes. The finite element results are then used to validate the solutions from shakedown analysis. The main focus of current research is concerned with new solutions for static (i.e. lower-bound) shakedown load limits of road pavements under both two-dimensional and three-dimensional moving surface loads. Solutions are derived by limiting the total stresses at any point (i.e. residual stresses plus loading induced elastic stresses) to satisfy the Mohr-Coulomb yield criterion. Previous analytical shakedown solution has been derived based on a residual stress field that may not satisfy equilibrium for certain cases. In this study, a rigorous lower-bound shakedown solution has been derived by imposing the equilibrium condition of residual stresses. The newly developed shakedown solutions have been applied to one-layered and multi-layered pavements. It was found that the rigorous lower-bound solution based on the self-equilibrated residual stress field is lower than the analytical shakedown solution for cases when the critical point lies on the surface or at the base of the first pavement layer. The results showed that the theoretical predictions of pavement shakedown load limit generally agree with the finite element and experimental observations for pavement behaviours. The shakedown solution has been further extended to study the influence of the shape of contact load area for pavements under three-dimensional Hertz loads. It was found that the shakedown load limit can be increased by changing the load contact shape from a circle area to an elliptical one. A new pavement design approach against excessive rutting has been proposed. The pavement design is suggested by plotting thickness design charts using the direct shakedown solutions and choosing the thickness combination based on the design traffic load.

Emerging trends in urban mobility have accelerated the need for effective traffic management and prediction systems. Simultaneously, the widespread adoption of GPS-enabled mobile devices has opened radical new possibilities for such systems. Motivated by this development, this thesis proposes an end-to-end streaming approach for traffic management that encompasses a novel prediction model. The stream processing is achieved by a sliding window model. In particular, the approach performs online 1) management of the current evolving trajectories, 2) incremental mining of closed frequent routes and 3) prediction of near-future locations of the moving objects based on the current object trajectories and historical frequent routes. The approach proposes storage of closed frequent routes and all possible turns a moving object can make at a junction, in a FP-tree like structure. This structure is created on the-fly from the buffered contents of each constituent window of the trajectories stream and then used to determine probabilistic future locations of each moving object. It additionaly calculates the densities of moving objects and parked objects for the entire road network. The prototype implements the approach as extensions to SCSQ - a data stream management system (DSMS) developed at UDBL. SCSQ is an extension of Amos II which is an extensible, mainmemory OO DBMS. The solution utilizes SCSQ’s stream manipulation and windowing capabilities coupled with Amos II’s functionality to efficiently store, index and query frequent routes for prediction. The approach is empirically evaluated on a large real-world data set of moving object trajectories, originating from a fleet of taxis, showing that detailed closed frequent routes can be efficiently discovered and used for prediction.

This paper addresses a modern trend within the road movie genre, where reflexive imagery is utilized as a mechanism of storytelling. Within the “reflexive road movie,” the reflexive space and the road movie space are cinematically contrastive to each other. The road movie provides a cinematic space for the protagonist to explore cultural, societal, and personal boundaries, perpetually moving towards an unreachable horizon. Reflexivity, on the other hand, consistently reminds the viewers of the technical and conceptual means of production, forcing the viewer (and the film itself) to reference its own borders and form. Thus, reflexivity obstructs the traditional motion within the road movie space. In order to conceptualize this claim, this thesis appears in two parts: the theoretical and the artistic. Theoretically, this study draws from Deleuze and Guattari’s concepts of (de)territorialization and Deleuze’s movement-image and time-image. Artistically, this study references an original film, titled Wanderweg (2013), which was created as a means of visually illustrating the theoretical conclusions of this study. Together, the theoretical and artistic components of this thesis examine how reflexivity spatially positions itself within a road movie.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research has analyzed the social and cultural significance that the road movie narrative genre acquired in the Post-Embrafilme national production (between 1990 and 2000). The core of the research is composed of 11 (eleven) fiction motion pictures produced within this period, among them Central do Brasil, O Caminho das Nuvens, Cinema, aspirina e urubus. The paper has emphasized the understanding on the concept of contemporary culture, its articulations with the symbolic and social imaginary mythology, cultural identity and allegories, assimilated and expressed by the narrative, considering the perspective of the understanding of the historic dimension of the social environment in which this cinema is produced. As to its structuring, the thesis utilizes a theoretical approach of social sciences and, according to concepts, analysis and interpretations that it aims to achieve, it also relies on the areas pertaining to social communication, cinema, literature and music, thus attempting an interdisciplinary approach of study. The central core of the theoretical work is presented in two main streams: Latin American and English Cultural Studies and the Complexity Theory. The results of the research have confirmed the stylistic configuration of the national road movie genre despite its numerical inferiority which was also verified in exploratory research in film production worldwide. The narrative genre which was studied possesses historic mediation with the so called hypermodernity in which the road figure is one of the key elements of symbolic significance: and these are articulate in values, speeches and images with social mobility, individuality, fragmentation and reordering of time and space. A characteristic ontological approach, as well as a remarkable social criticism, was identified in the films studied. The analysis also asserts the relevance of the theme of cultural identity in the era of economic and culture globalization
Esta pesquisa analisou a significação social e cultural que o gênero narrativo road movie (filme de estrada) adquire na produção nacional Pós-Embrafilme (décadas de 1990-2000). O corpus da pesquisa compõe-se de 11 (onze) longas-metragens de ficção realizados nesse período, entre eles Central do Brasil, O caminho das nuvens, Cinema, aspirinas e urubus. O trabalho enfatizou a compreensão da noção de cultura contemporânea, suas articulações com o imaginário social e simbólico - mitologia, identidade cultural e alegorias, assimilado e expresso pela narrativa, com a perspectiva do entendimento da dimensão histórica do espaço social no qual esse cinema é produzido. A tese utiliza-se, em sua estruturação, de uma abordagem teórica das ciências sociais e, conforme conceitos, análises e interpretações que se propõe a realizar, apoia-se também nas áreas de conhecimento da comunicação social, cinema, literatura e música, buscando, assim, uma metodologia interdisciplinar de estudo. O eixo teórico central do trabalho articula-se por meio de duas correntes: os Estudos Culturais Ingleses e Latino- Americanos e a Teoria da Complexidade. Os resultados da pesquisa confirmam a configuração estilística do gênero cinematográfico road movie na filmografia nacional, a despeito da sua condição numericamente pouco representativa, semelhante à verificada, em pesquisa exploratória, na produção mundial. O gênero narrativo estudado possui mediação histórica com a chamada hipermodernidade, na qual a figura estrada é um dos seus elementos-chave de significação simbólica; estes, articulados em valores, discursos e imagens como mobilidade social, individualidade, fragmentação e reordenação do tempo e espaço. Identificou-se uma característica abordagem ontológica nos filmes pesquisados, bem como uma marcante criticidade social. As análises também afirmam a pertinência da temática da identidade cultural em plena era de globalização econômica e mundialização da cultura

Construction machines, also referred to as engineering vehicles or earth movers, are used in a variety of tasks related to infrastructure development and material handling. While modern construction machines represent a high level of sophistication in several areas, their suspension systems are generally rudimentary or even nonexistent. This leads to unacceptably high vibration levels for the operator, particularly when considering front loaders and dump trucks, which regularly traverse longer distances at reasonably high velocities. To meet future demands on operator comfort and high speed capacity, more refined wheel suspensions will have to be developed. The aim of this thesis is therefore to investigate which factors need to be considered in the fundamental design of suspension systems for wheeled construction machines. The ride dynamics of wheeled construction machines are affected by a number of particular properties specific to this type of vehicle. The pitch inertia is typically high in relation to the mass and wheelbase, which leads to pronounced pitching. The axle loads differ considerably between the loaded and the unloaded condition, necessitating ride height control, and hence the suspension properties may be altered as the vehicle is loaded. Furthermore, the low vertical stiffness of off-road tyres means that changes in the tyre properties will have a large impact on the dynamics of the suspended mass. The impact of these factors has been investigated using analytical models and parameters for a typical wheel loader. Multibody dynamic simulations have also been used to study the effects of suspended axles on the vehicle ride vibrations in more detail. The simulation model has also been compared to measurements performed on a prototype wheel loader with suspended axles. For reasons of manoeuvrability and robustness, many construction machines use articulated frame steering. The dynamic behaviour of articulated vehicles has therefore been examined here, focusing on lateral instabilities in the form of “snaking” and “folding”. A multibody dynamics model has been used to investigate how suspended axles influence the snaking stability of an articulated wheel loader. A remote-controlled, articulated test vehicle in model-scale has also been developed to enable safe and inexpensive practical experiments. The test vehicle is used to study the influence of several vehicle parameters on snaking stability, including suspension, drive configuration and mass distribution. Comparisons are also made with predictions using a simplified linear model. Off-road tyres represent a further complication of construction machine dynamics, since the tyres’ behaviour is typically highly nonlinear and difficult to evaluate in testing due to the size of the tyres. A rolling test rig for large tyres has here been evaluated, showing that the test rig is capable of producing useful data for validating tyre simulation models of varying complexity. The theoretical and experimental studies presented in this thesis contribute to the deeper understanding of a number of aspects of the dynamic behaviour of construction machines. This work therefore provides a basis for the continued development of wheel suspensions for such vehicles.
QC 20110531

There is a growing public concern that emissions of mobile source air toxics (MSATs) from motor vehicles may pose a threat to human health. At present, no state or federal agencies require dispersion modeling of these compounds, but many agencies are concerned about potential future requirements. Current air pollution professionals are familiar with Federal Highway Administration (FHWA) and U.S. Environmental Protection Agency (EPA) requirements for dispersion modeling to produce predicted concentrations for comparison with appropriate standards. This research examined a method in which the potential near-road concentrations of MSATs were calculated. It was believed that by assessing MSATs in much the same way that are used for other pollutants, the model and methods developed in this research could become a standard for those quantifying MSAT concentrations near-roadways. This dissertation reports on the results from short-term (1-hour) and long-term (annual average) MSATs dispersion modeling that has been conducted on seven intersections and seven freeway segments in the state of Florida. To accomplish the modeling, the CAL3QHC model was modified to handle individual MSAT emissions input data and to predict the concentrations of several MSATs around these roadway facilities. Additionally, since the CAL3MSAT model is DOS based and not user-friendly, time was invested to develop a Windows&"174; graphical user interface (GUI). Real-world data (traffic volumes and site geometry) were gathered, worst-case meteorology was selected, mobile source emission factors (EFs) were obtained from MOVES2010a, and worst-case modeling was conducted. Based on a literature search, maximum acceptable concentrations (MACs) were proposed for comparison with the modeled results, for both a short-term (1-hour) averaging time and a long-term (1-year) averaging time. Results from this CAL3MSAT modeling study indicate that for all of the intersections and freeway segments, the worst-case 1-hour modeled concentrations of the MSATs were several orders of magnitude below the proposed short-term MACs. The worst-case 1-year modeled concentrations were of the same order of magnitude as the proposed long-term MACs. The 1-year concentrations were first developed by applying a persistence factor to the worst-case 1-hour concentrations. In the interest of comparing the predicted concentrations from the CAL3MSAT persistence factor approach to other dispersion models, two EPA regulatory models (CAL3QHCR and AERMOD) with the ability to account for yearly meteorology, traffic, and signal timing were used. Both hourly and annual MSAT concentrations were predicted at one large urban intersection and compared for the three different dispersion models. The short-term 1-hour results from CAL3MSAT were higher than those predicted by the two other models due to the worst-case assumptions. Similarly, results indicate that the CAL3MSAT persistence factor approach predicted a worst-case annual average concentration on the same order of magnitude as the two other more refined models. This indicated that the CAL3MSAT model might be useful as a worst-case screening approach.
Ph.D.
Doctorate
Civil, Environmental, and Construction Engineering
Engineering and Computer Science
Environmental Engineering

Road pricing has been touted by economists as a tool for financing infrastructure and curbing many of the problems associated with urban transportation such as congestion and pollution. This research establishes a framework for examining the effects of a Full-User-Pay (FUP-RPS), that is a system where road users pay the full cost incurred by driving that includes road maintenance as well as air, noise and water pollution. FUP road pricing scenarios were tested on Metro Vancouver in order to answer three questions: 1) How will an FUP-RPS affect different user groups by geography and transportation mode; 2) Which areas of a region can we expect to become more desirable or less desirable with a fully user pay road pricing system, and; 3) How will business and industry be affected in a FUP-RPS? Three FUP-RPS scenarios were tested, each one subsidizing transit differently. It was found that users of all modes in a FUP-RPS would benefit and that no transportation mode was favoured significantly. Although drivers would experience higher user fees in a FUP- RPS, they would also experience greater benefits in the form of reduced gas taxes and congestion. FUP road pricing also did not make urban areas more desirable than suburban ones. Finally, FUP road pricing was found to reduce the transportation costs for business and industry. The property tax and congestion savings were found to be greater than the anticipated Roadway Facility tolls and externality charges.
Applied Science, Faculty of
Community and Regional Planning (SCARP), School of
Graduate

Etant donné les constations multiples révélées par certains sociologues (G. Deleuze, M. Maffesoli, etc. ) Sur le thème nomadisme, l'auteur cherche a révéler la structure immanente et les caractères essentiels de ce sujet en employant la méthodologie de 1. Forme archétypale et 2. Idealtype comme accès de recherche. Ce qui est une méthodologie construite à partir des idées de Durkheim, Weber, Simmel, Durand et M. Maffesoli. Ainsi 5 formes archétypales (qui revêtent chacune partiellement des traits du nomadisme concerné) 1. Ulysse - voyage + égarement, 2. Don Quichotte - errance, 3. Rimbaud - fuite perpétuelle et Baudelaire - en tant qu'une forme-arch2typale par excellence avec ses 3 qualités comme 1. "Cent déménagements, pas un voyage !" (selon J. P. Sartre), 2. Travestie, 3. Avarice onaniste et puis le road-movie en tant qu'un idéaltype (dans le contexte postmoderne) analyse à partir de 1. Jack Kerouac et la "beat generation" (légitimation contextuelle), 2. John Ford et le western (archétype de road-movie), 3. Wim Wenders (apogée de road-movie) "Blade Runner" en tant qu'une métamorphose de road-movie dans lequel nous retrouvons les mêmes comportements et trajectoires de "homo-vagabundus" et "homo-noctambulus" dans une espace clos et nocturn symbolique, qui révèle la nouvelle relation entre l'homme et l'image, ce qui serait en même temps la forme de communication alternative, une dérive et un effet pervers de la postmodernité
Certain sociologists such as G. Deleuze and M. Maffesoli has revealed various investigations on the theme of nomadism in the post modern context. Thus in this thesis, i intend to point cut the immanent structure and the essential characteristics of this subject by applying the rfisfchods of 1. Archetype-form, and 2. Idealtype to initiate the research. This method is developped from the theories of Durkheim, Weber, Simmel, Durand and M. Maffesoli. Therefore, 3 archetype-forms (which each partially represented some feature of the nomadism in question) 1. Ulysse - voyage - "egarement", 2. Don Quichotte - rootless wandering, 3. Rimbaud - perpetual escape and Baudelaire - as an archetype-form par excellence with his 3 qualities 1. "Hundred moves, never a trip !" (in J. P. Sartre's words), 2. Trens, 3. "avarice onaniste" and then the road-movie as an idealtype (in the postnodsrn context). This subject will be analysed from 3 standpoints 1. Jack Kerouac and the "beat generation", for its textual justification ; 2. John Ford and this western - archetype of roadmovie, 5. Wim Wenders - apogee of . "Blade runner" - a road-movie's metamorphosis in which we uncover the same behaviours and trajectories of "homo-vagabundus" and "homo-noctambulus" from Baudelaire to blade runner in a symbolic, closed and nocturnal space which reveals further relationships between man and image. This would be at the same time an alternative communication form, one of the postmodernity's "drift" (derive) and "perverse effects"

Deep decarbonisation of road transportation is challenging. One of the most potentially beneficial approaches is electrification which is the subject of this PhD thesis. A widespread penetration of electric vehicles (EVs) across a large proportion of road transport demand is needed to realise the benefits of an electrified transport sector. However, this is dependent on overcoming significant barriers. This study performs a systematic analysis of how proven power charging technologies could be used to unlock the barriers to widespread electrification of road transportation. Various road transport sectors and type of journeys are explored including aspects of autonomous operations and novel wireless power transfer technologies. For each operation, a framework is proposed that allows the exploitation of current and potential future electrification technologies to enable shifting towards EVs. Based on that, simulation tools and methods are developed to calculate the power requirements of EVs and determine a suitable charging infrastructure. The additional power demand, electric load and the implications for the electricity supply network are explored. The total expenditure needed and the CO2 emission savings are also calculated for each investigated operation. Transitional strategies include the electrification of bus routes, refuse collection functions, home deliveries and aspects of autonomous operations for public transportation within the boundaries of the cities. In the long-term, focus is given on passenger cars and freight vehicles for both urban and inter-urban journeys. A nationwide adoption of all electrification strategies proposed in this thesis would increase the peak power demand of Great Britain by approximately 38 GW (72% of the current peak) and the electricity consumption by 180 TWh per year (45% of current consumption). The total capital cost required is calculated at £225 billion which is similar to the cost of other large infrastructure projects of the country. The impact would be a significant aggregate saving of approximately 2,000 MtCO2 between the numbers calculated for today's norms (2018) and those calculated for 2050.

This thesis is about the everyday practice of inclusion in Cyprus. When I started this work I believed that my work must have a practical application, in the educational life of Cyprus. Being a fan and a practitioner of inclusion, I have the chance to be a member of the education community trying to apply inclusion in the everyday life of school in primary education in Cyprus. My working experience, together with academic knowledge, helped me to understand more deeply the importance of creating change. I wanted to evaluate the application of inclusion, and I wanted this investigation to come from real findings, from everyday life of schools. This is why I have chosen to investigate two different types of schools. The first school is what we name in Cyprus "special" school and the second one is a primary school which is trying to apply inclusion. The research data that I gathered came from various perspectives, since I wanted to have a clear view of the issue. I decided to use qualitative methods of gathering the data and the way I have decided to present the results was through writing different stories. This way of presenting the data of the research, provided me with more freedom in order to write everything that I wanted to. Since I wanted my work to have practical implications I am concluding this thesis by suggesting several changes that have to take place in order to implement real inclusion in Cyprus. The main finding from my research is that inclusion involves complex feelings and attitudes and thus it cannot be applied in a simplistic way. Inclusion is a social phenomenon and it concerns change not only in the field of education, but also in the whole society.

This master thesis has been done in the field of Advanced Driver Assistance Systems and presents a method to assist cross traffic at road junctions. An accurate tracking of crossing objects is necessary in order to assist traffic at road junctions. At Continental, the stable tracking of crossing objects is available, but the system still gives false alarms for non-colliding objects (e.g. Target Braking at crossroads). Hence the main focus of this thesis is on the reduction of false alarms for non colliding objects. Radar based Maneuver Detection function has been developed for Crossing Emergency Brake Assist system, which uses radar measurement parameters to detect the maneuvering of target objects in order to differentiate between collision and non-collision cases. Different crossing scenarios have been created in a Matlab environment and the algorithm is tested. Secondly, the algorithm is tested by using the measurement data from real recordings and evaluation is made. The proposed algorithm has reliably detected the non-collided objects (in normal cases) and helped in reducing the false alarm rate significantly.

Several aspects of vehicle-pavement interaction have been studied and discussed in this thesis. Initially the pavement response is studied through a quasi-static and a dynamic computationally efficient framework under moving traffic loads. Subsequently, a non-stationary stochastic solution has been developed in order to account for the effect of pavement surface deterioration on pavement service life.The quasi-static procedure is based on a superposition principle and is computationally favourable, as it requires only a reduced incremental problem to be solved numerically. Using the developed framework, the effect of vehicle configuration and traffic characteristics on the damage induced in pavements is investigated numerically. It is shown that the developed numerical model provides a more accurate explanation of different distress modes.In the dynamic approach the pavement roughness and vehicle suspension system are linked to a dynamic pavement model in order to account for the dynamic effects of vehicle-pavement interaction on pavement response. A finite element method is employed in order to establish the response function for a linear viscoelastic pavement structure with dynamic effects taken into account. The developed computational procedure is applied to evaluate the effect of the pavement surface roughness on the pavement structure response to truck traffic loadings.Furthermore, the deterioration trends for the flexible pavement surface have been investigated based on field measurements of longitudinal profiles in Sweden. A predictive function is proposed for surface deterioration that is based on the average gradient of yearly measurements of the road surface profiles in Swedish road network. The developed dynamic framework is further elaborated to a non-stationary stochastic approach. The response of the flexible pavement is given for a non-stationary random case as the pavement surface deteriorates in pavement service life, thus influencing the magnitude of the dynamic loads induced by the vehicles. The effect of pavement surface evolution on the stress state induced in the pavement by moving traffic is examined numerically. Finally the effect of surface deterioration on pavement service life has been investigated and discussed in the thesis by incorporating the proposed prognostic surface deterioration model into a ME design framework. The results are discussed for different case studies with different traffic regimes. It was indicated that the predicted pavement service life decreases considerably when the extra dynamic loads, as a result of pavement surface deterioration, has been taken into account. Furthermore, the effect of performing a predictive rehabilitation process (i.e. resurfacing) has been studied by employing a LCC framework. The application of preventive maintenance was shown to be effective, especially when the deterioration rate is high.

QC 20141119

This licentiate thesis on architecture addresses how the state and municipalities use programs that deal with the design process in town planning projects. The author describes the process of creating an aesthetic design program and also studies a completed aesthetic design program. Furthermore, the author combines different findings and presents how programs develop during the planning process.

The background of the work with architectural policy programs by the state agencies can be tracked in the program Shape of the Future – Program of Action, Design and Creative Design, 1997. Municipalities have also been influenced by architectural policy programs in their work. Changes in the Plan and Built Act, 1998/1999 that concern aesthetic values have also had effect on their work.

The thesis presents four studies that comprise concept analysis, a case study of a municipal planning process, a road movie test and finally a comparison of different methods for evaluation of aesthetic design programs in road design projects. The first study presents a survey of the linguistic usage for programs that concern the design process. Examples from Sweden from the period 1999-2005 have been studied. Also, differences in the usage of the programs between the property developers and the town planning departments have been studied. The study showed that four types of programs were more commonly used: achitectural programs, aesthetic design programs, architectural quality programs and urban design programs. The distinctions in the programs can be used as foundation for more clear and uniform language use among the property developers and town planning departments.

The second study follows the planning process of creating an aesthetic design program for the area Kvibergs äng in Gothenburg. An example of city development, the planning process contains both house planning and traffic planning. By the study the author search to increase the comprehension of developing aesthetic design programs and the knowledge of the distribution of power in town planning projects. The case relies on multiple sources of evidence, participant observations have been a main source. The case study consists of two kinds of analysis, a process analysis account of planning process and a discourse analytic interpretation of work of the planning group. The work with the aesthetic design program and the city plan stopped before it was completed. The planning group did not succeed in creating consensus among key actors. The differences in objectives among the architectural discourse, traffic planning discourse and the property developer discourse are some of the reasons why the aesthetic design program has not been completed. There were differences in interests and goals among the participants in the project of city development. The claim made throughout the study is that a common goal for the planning work is significant and it is essential to create consensus among the participants. In addition, the municipalities need guidance for aesthetic design programs to be able to guarantee the architectural quality.

The third study describes a full scale experiment “road movie”. A film and a questionnaire were tried to evaluate the aesthetic design program for the detour past Sollefteå. The question was: Are film and questionnaire more easily available in comparison to traditional evaluation methods? Film was chosen as medium, since while driving on the road the experience is dynamic and similar to watching the movie. The film was shown to three independent groups. A total of 25 persons participated in the test. The informants were all professionals, either students or persons that worked with design tasks. The informants were asked to answer questions that concerned three kinds of evaluation criteria: research criteria, professional criteria and criteria specific for the program.

The experiment showed that the informants had a positive attitude to use film for showing completed aesthetic design and evaluating road architecture. Film was a medium that showed critical viewpoints on the aesthetic design program and on completed design measures. In the beginning the method was expensive and took a lot of time, which was compensated by the fact that it was possible to conduct anywhere and anytime. The film also gave a good general impression of the road. The method was good at putting together measures and result when appraising the aesthetic design program.

The fourth study shows a comparison of methods for evaluations that were used for completed aesthetic design programs at the Swedish Road Administration. A rich material was available to investigate the difference between film and other methods for evaluation. The evaluations carried out were: Tuning at place with the aesthetic design program, Evaluation at place with criteria and Qualitative evaluation. The issue investigated was: Which one of the methods of evaluation gave the best basis for assessment of the aesthetic design program and the result of the completed design measures. The study showed that used methods were suited in different situations. Tuning at place with the aesthetic design program was the fastest and cheapest method, it was only a local evaluation. With Evaluation at place with criteria more resources were needed, a discussion with informants was added. The method Qualitative evaluation was the only one of the methods that had users in the role as informants. The users provided new information through local knowledge. Film and questionnaire was the only one of the methods that gave critical comments to the aesthetic design program. The method put together program, measures and result. The method Film and questionnaire is based on criteria of research. Method and result become comparable with other evaluations that are built on theory.

Denna licentiatavhandling behandlar program avsedda att styra gestaltningen i stadsutvecklingsprojekt. En central frågeställning i avhandlingsarbetet har varit att undersöka hur programmen används hos statliga byggherrar och kommuner. Jag valde dels att följa ett gestaltningsprogram under själva framtagningsprocessen, dels att studera ett färdigt och genomfört gestaltningsprogram. Tillsammans ger studierna kunskap om bestaltningsprogrammets utvecklingsförlopp under planeringsprocessen från tidiga skeden till uppföljning av genomförda gestaltningsåtgärder.

Bakgrunden till de statliga myndigheternas arbeten med arkitekturpolitiska handlingsprogram kan spåras i programmet Framtidsformer – Handlingsprogram för arkitektur, formgivning och design, 1997. Även kommuner har blivit påverkade av handlingsprogrammet i sitt arbete med arkitekturprogram. De ändringar i Plan- och bygglagen, 1998/1999, som berör estetiska värden har också haft betydelse för stadsbyggnadskontorens hantering av planprojekt.

Licentiatavhandlingen innehåller fyra delstudier, de omfattar en kartläggande begreppsanalys, en fallstudie av en kommunal planprocess, ett filmförsök med utvärdering och slutligen en jämförelse av olika utvärderingsmetoder för gestaltningsprogram i vägprojekt. I den första delstudien redovisas en kartläggning av språkbruket som rör program för gestaltningsfrågor. Svenska exempel på hur programmen används som hjälpmedel i planeringsprocessen hos stat och kommuner mellan åren 1999–2005 studeras. Studien visar att fyra programtyper dominerar: arkitekturprogram, gestaltningsprogram, kvalitetsprogram och stadsmiljöprogram. Det råder inte något enhetligt språkbruk på området och studien avslutas med ett förslag till definitioner av förekommande programtyper. En klarare begreppsanvändning framstår som önskvärd.

Den andra delstudien följer tillblivelseprocessen för ett kommande gestaltningsprogram för bebyggelsen vid Kvibergs äng i Göteborg. Planprocessen innehåller både bebyggelseplanering och trafikplanering. Genom studien söker jag få en ökad förståelse för utvecklingen av gestaltningsprogram och kunskap om maktordningen inom stadsutvecklingsprojekt. Information samlade jag främst genom deltagande observation vid möten som behandlade gestaltningsprogram och intervjuer. Fallbeskrivningen redovisar dels en processanalys av planeringsprocessen, dels en diskursanalytisk tolkning av planeringsgruppens arbete. Arbetet med gestaltningsprogrammet och detaljplanen avstannade innan det var färdigt till följd av oklarheter i planeringsprocessen och politiska omprioriteringar. En bidragande orsak kan sökas i skillnaden mellan de tre diskurser som var representerade i planeringsgruppen: arkitekturdiskursen, trafikplaneringsdiskursen och byggherrediskursen. De representerade olika intressen och målbilder i stadsutvecklingsprojektet. Resultatet av studien visar att en gemensam målbild för arbetet är viktig för att skapa samsyn bland mötesdeltagarna. En vägledning för gestaltningsprogram hos kommuner behövs för att säkra de arkitektoniska kvaliteterna.

Den tredje delstudien beskriver ett fullskaleförsök, ”road movie”, där film och enkät prövades för att utvärdera genomförda gestaltningsåtgärder för förbifarten vid Sollefteå. Är film och frågeformulär ett mer lättillgängligt sätt jämfört med traditionella utvärderingar? Film valdes för att det finns en dynamik som är inbyggd i att färdas på vägen som liknar filmens möjlighet att redovisa en upplevelse av rörelse. Filmen visades för tre oberoende grupper vid olika tillfällen. Sammanlagt deltog 25 personer i försöken. Informanterna var professionella, antingen studenter eller personer som arbetade med gestaltningsfrågor. För att undersöka hur road movien uppfattades av informanterna fick de svara på frågor rörande tre typer av utvärderingskriterier: forskningskriterier, professionella kriterier och programspecifika kriterier.

Informanterna i försöket var överlag positiva till att använda sig av film, både för att visa genomförda gestaltningsåtgärder och för att utvärdera vägarkitektur. Filmen var ett medium som lockade fram kritiska synpunkter både på gestaltningsprogrammet och utförda gestaltningsåtgärder. Initialt var metoden tids- och kostnadskrävande, vilket kompenserades med att den vid tillämpning var oberoende av tid och rum. Filmen återgav ett bra helhetsperspektiv av vägen. Metodiken bidrog till att länka samman åtgärder och resultat vid bedömningen.

Den fjärde delstudien är en jämförelse av utvärderingsmetoder för genomförda gestaltningsprogram inom Vägprojekt. Det fanns ett rikt jämförelsematerial för att undersöka skillnader mellan film och övriga utvärderingsmetoder. De genomförda utvärderingarna var: Avstämning på plats mot gestaltningsprogrammet, Utvärdering på plats med utvärderingskriterier och Kvalitativ utvärdering. Den frågeställning som undersöktes var vilken av metoderna som gav det bästa underlaget för bedömning av gestaltningsprogram och bedömning av vidtagna gestaltningsåtgärder. Resultatet av jämförelsen visar att använda utvärderingsmetoder lämpade sig för olika användningsområden. Avstämning på plats mot gestaltningsprogrammet var den snabbaste och billigaste metoden, det blev dock endast en lokal utvärdering. Utvärdering på plats med utvärderingskriterier var mer resurskrävande, det tillkom även ett diskussionsmoment med informanterna. Metoden Kvalitativ utvärdering var den enda av metoderna som hade brukare som informatörer. Brukare tillförde ny kunskap genom sin lokalkännedom. Film och enkät var den enda av metoderna som gav kritiska kommentarer till gestaltningsprogrammet. Den bidrog till att länka samman program, åtgärder och resultat. Metoden film och enkät bygger på forskningsbaserade kriterier och härigenom blir metodik och resultat jämförbara med teoribaserade utvärderingar.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

Subject of the work is comparison between the selected Czech standards elements for the road design and the standards in selected EU Member States. Based on the comparison and in agreement with the supervisor is designed to optimize the control elements of pitch towards sustainable transport safety. The work addresses the longitudinal gradients of motorways, expressways and other roads directionally divided according to standard ČSN 73 6101.

L'objectif de cette thèse est d'étudier le comportement de traversée d'intersection en conduite automobile sous l'angle des actions visuellement guidées. Dans l'introduction, nous montrons que les principales études portant sur la traversée d'intersection se sont focalisées sur les processus de jugement perceptif ; or nous montrons que la compréhension de cette activité pourrait être affinée en utilisant les concepts de la théorie de la perception directe et ceux issus de l'étude du controle moteur. Notre revue de questions nous conduit à rapprocher la tache de traversée d'intersection à l'intérieur d'un créneau libre du trafic à celle d'interception de cible se déplaçant horizontalement. Or, dans le cadre des taches d'interception, il a été démontré que la stratégie d'angle de relèvement constant (i.e., Constant Bearing Angle, CBA) a un fort pouvoir explicatif vis-à-vis des données expérimentales. Nous avons donc tiré partie des outils de simulation automobile pour tester la plausibilité de l'utilisation d'une telle stratégie par les conducteurs. Dans le premier chapitre expérimental, nous montrons qu'il est légitime d'étudier le couplage perception-action dans ce type de tache et que les conducteurs adoptent des régulations comportementales proches de celles observées dans une tache d'interception de mobile. Le second chapitre expérimental nous permet de mettre en évidence l'utilisation conjointe par les conducteurs d'informations relatives au créneau du trafic (supports globaux) et aux véhicules (supports locaux). Enfin, dans le dernier chapitre expérimental, nous mettons en évidence que les conducteurs n'utilisent pas exclusivement le taux de changement de l'angle de relèvement comme information visuelle mais qu'ils utilisent aussi l'expansion optique des véhicules du trafic. Nous concluons ce travail en montrant comment nos résultats nous permettent d'interpréter sous un autre angle ceux obtenus avec une méthodologie fondée uniquement sur les jugements perceptifs. Enfin, nous proposons des perspectives expérimentales en envisageant la manipulation des capacités d'action des conducteurs ainsi que des perspectives appliquées en envisageant l'utilisation de nos résultats dans le contexte de la conception d'un système d'assistance à la conduite.

Pour les véhicules intelligents autonomes ou semi-autonomes, la perception constitue la première tâche fondamentale à accomplir avant la décision et l’action. Grâce à l’analyse des données vidéo, Lidar et radar, elle fournit une représentation spécifique de l’environnement et de son état, à travers l’extraction de propriétés clés issues des données des capteurs. Comparé à d’autres modalités de perception telles que le GPS, les capteurs inertiels ou les capteurs de distance (Lidar, radar, ultrasons), les caméras offrent la plus grande quantité d’informations. Grâce à leur polyvalence, les caméras permettent aux systèmes intelligents d’extraire à la fois des informations contextuelles de haut niveau et de reconstruire des informations géométriques de la scène observée et ce, à haute vitesse et à faible coût. De plus, la technologie de détection passive des caméras permet une faible consommation d’énergie et facilite leur miniaturisation. L’utilisation des caméras n’est toutefois pas triviale et pose un certain nombre de questions théoriques liées à la façon dont ce capteur perçoit son environnement. Dans cette thèse, nous proposons un système de détection d’objets mobiles basé seule- ment sur l’analyse d’images. En effet, dans les environnements observés par un véhicule intelligent, les objets en mouvement représentent des obstacles avec un risque de collision élevé, et ils doivent être détectés de manière fiable et robuste. Nous abordons le problème de la détection d’objets mobiles à partir de l’extraction du contexte local reposant sur une segmentation de la route. Après transformation de l’image couleur en une image invariante à l’illumination, les ombres peuvent alors être supprimées réduisant ainsi leur influence négative sur la détection d’obstacles. Ainsi, à partir d’une sélection automatique de pixels appartenant à la route, une région d’intérêt où les objets en mouvement peuvent apparaître avec un risque de collision élevé, est extraite. Dans cette zone, les pixels appartenant à des objets mobiles sont ensuite identifiés à l’aide d’une approche plan+parallaxe. À cette fin, les pixels potentiellement mobiles et liés à l’effet de parallaxe sont détectés par une méthode de soustraction du fond de l’image; puis trois contraintes géométriques différentes: la contrainte épipolaire, la contrainte de cohérence structurelle et le tenseur trifocal, sont appliquées à ces pixels pour filtrer ceux issus de l’effet de parallaxe. Des équations de vraisemblance sont aussi proposées afin de combiner les différents contraintes d’une manière complémentaire et efficace. Lorsque la stéréovision est disponible, la segmentation de la route et la détection d’obstacles peuvent être affinées en utilisant une segmentation spécifique de la carte de disparité. De plus, dans ce cas, un algorithme de suivi robuste combinant les informations de l’image et la profondeur des pixels a été proposé. Ainsi, si l’une des deux caméras ne fonctionne plus, le système peut donc revenir dans un mode de fonctionnement monoculaire ce qui constitue une propriété importante pour la fiabilité et l’intégrité du système de perception. Les différents algorithmes proposés ont été testés sur des bases de données d’images publiques en réalisant une évaluation par rapport aux approches de l’état de l’art et en se comparant à des données de vérité terrain. Les résultats obtenus sont prometteurs et montrent que les méthodes proposées sont efficaces et robustes pour différents scénarios routiers et les détections s’avèrent fiables notamment dans des situations ambiguës
For autonomous or semi-autonomous intelligent vehicles, perception constitutes the first fundamental task to be performed before decision and action/control. Through the analysis of video, Lidar and radar data, it provides a specific representation of the environment and of its state, by extracting key properties from sensor data with time integration of sensor information. Compared to other perception modalities such as GPS, inertial or range sensors (Lidar, radar, ultrasonic), the cameras offer the greatest amount of information. Thanks to their versatility, cameras allow intelligent systems to achieve both high-level contextual and low-level geometrical information about the observed scene, and this is at high speed and low cost. Furthermore, the passive sensing technology of cameras enables low energy consumption and facilitates small size system integration. The use of cameras is however, not trivial and poses a number of theoretical issues related to how this sensor perceives its environmen. In this thesis, we propose a vision-only system for moving object detection. Indeed,within natural and constrained environments observed by an intelligent vehicle, moving objects represent high risk collision obstacles, and have to be handled robustly. We approach the problem of detecting moving objects by first extracting the local contextusing a color-based road segmentation. After transforming the color image into illuminant invariant image, shadows as well as their negative influence on the detection process can be removed. Hence, according to the feature automatically selected onthe road, a region of interest (ROI), where the moving objects can appear with a high collision risk, is extracted. Within this area, the moving pixels are then identified usin ga plane+parallax approach. To this end, the potential moving and parallax pixels a redetected using a background subtraction method; then three different geometrical constraints : the epipolar constraint, the structural consistency constraint and the trifocaltensor are applied to such potential pixels to filter out parallax ones. Likelihood equations are also introduced to combine the constraints in a complementary and effectiveway. When stereo vision is available, the road segmentation and on-road obstacles detection can be refined by means of the disparity map with geometrical cues. Moreover, in this case, a robust tracking algorithm combining image and depth information has been proposed. If one of the two cameras fails, the system can therefore come back to a monocular operation mode, which is an important feature for perception system reliability and integrity. The different proposed algorithms have been tested on public images data set with anevaluation against state-of-the-art approaches and ground-truth data. The obtained results are promising and show that the proposed methods are effective and robust on the different traffic scenarios and can achieve reliable detections in ambiguous situations

[EN] The neutron diffusion equation is an approximation of the neutron transport equation that describes the neutron population in a nuclear reactor core. In particular, we will consider here VVER-type reactors which use the neutron diffusion equation discretized on hexagonal meshes. Most of the simulation codes of a nuclear power reactor use the multigroup neutron diffusion equation to describe the neutron distribution inside the reactor core.To study the stationary state of a reactor, the reactor criticality is forced in artificial way leading to a generalized differential eigenvalue problem, known as the Lambda modes equation, which is solved to obtain the dominant eigenvalues of the reactor and their corresponding eigenfunctions. To discretize this model a finite element method with h-p adaptivity is used. This method allows to use heterogeneous meshes, and allows different refinements such as the use of h-adaptive meshes, reducing the size of specific cells, and p-refinement, increasing the polynomial degree of the basic functions used in the expansions of the solution in the different cells. Once the solution for the steady state neutron distribution is obtained, it is used as initial condition for the time integration of the neutron diffusion equation. To simulate the behaviour of a nuclear power reactor it is necessary to be able to integrate the time-dependent neutron diffusion equation inside the reactor core. The spatial discretization of this equation is done using a finite element method that permits h-p refinements for different geometries. Transients involving the movement of the control rod banks have the problem known as the rod-cusping effect. Previous studies have usually approached the problem using a fixed mesh scheme defining averaged material properties and many techniques exist for the treatment of the rod cusping problem. The present work proposes the use of a moving mesh scheme that uses spatial meshes that change with the movement of the control rods avoiding the necessity of using equivalent material cross sections for the partially inserted cells. The performance of the moving mesh scheme is tested studying different benchmark problems. For reactor calculations, the accuracy of a diffusion theory solution is limited for for complex fuel assemblies or fine mesh calculations. To improve these results a method that incorporates higher-order approximations for the angular dependence, as the simplified spherical harmonics (SPN ) method must be employed. In this work an h-p Finite Element Method (FEM) is used to obtain the dominant Lambda mode associated with a configuration of a reactor core using the SPN approximation. The performance of the SPN (N= 1, 3, 5) approximations has been tested for different reactor benchmarks.
[ES] La ecuación de la difusión neutrónica es una aproximación de la ecuación del transporte de neutrones que describe la población de neutrones en el núcleo de un reactor nuclear. En particular, consideraremos reactores de tipo VVER y para simular su comportamiento se utilizará la ecuación de la difusión neutrónica para cuya discretización se hace uso de mallas hexagonales. La mayoría de los códigos de simulación de reactores nucleares utilizan aproximación multigrupo de energía de la ecuación de la difusión neutrónica para describir la distribución de neutrones en el interior del núcleo del reactor. Para estudiar el estado estacionario del reactor, es posible forzar la criticidad del reactor de forma artificial modificando las secciones eficaces de forma que se obtiene un problema de valores propios diferencial, conocido como el problema de los Modos Lambda, que se resuelve para obtener los valores propios dominantes del reactor y sus correspondientes funciones propias. Para discretizar este modelo se ha hecho uso de un método de elementos finitos con adaptabilidad h-p. Este método permite el uso de mallas heterogéneas, y de diferentes refinamientos como el uso mallas h-adaptativas, reduciendo el tamaño de los distintos nodos, y el p-refinado, aumentando el grado del polinomio de las funciones básicas utilizado en los desarrollos de la solución en los diferentes nodos. Se ha desarrollado un código basado en un método de elementos finitos de alto orden para resolver el problema de los Modos Lambda en un reactor con geometría hexagonal y se han obtenido los Modos dominantes para distintos problemas de referencia. Una vez que se ha obtenido la solución para la distribución de neutrones en estado estacionario, ésta se utiliza como condición inicial para la integración de la ecuación de difusión neutrónica dependiente del tiempo. Para simular el comportamiento de un reactor nuclear para un determinado transitorio, es necesario ser capaz de integrar la ecuación de la difusión neutrónica dependiente del tiempo en el interior del núcleo del reactor. La discretización espacial de esta ecuación se hace usando un método de elementos finitos de alto orden que permite refinados de tipo h-p para distintas geometrías. Los transitorios que implican el movimiento de los bancos de las barras de control tienen el problema conocido como el efecto 'rod-cusping'. Estudios anteriores, por lo general, han abordado este problema utilizando una malla fija y definiendo propiedades promedio para los materiales correspondientes a las celdas donde se tiene la barra de control parcialmente insertada. En el presente trabajo se propone el uso de un esquema de malla móvil, de forma que en mallado espacial va cambiando con el movimiento de la barra de control, evitando la necesidad de utilizar secciones eficaces equivalentes para las celdas parcialmente insertadas. El funcionamiento de este esquema de malla móvil propuesto se estudia resolviendo distintos problemas tipo. La precisión obtenida mediante de la teoría de la difusión en los cálculos de reactores es limitada cuando se tienen elementos de combustible complejos o se pretenden realizar cálculos en malla fina. Para mejorar estos resultados, es necesario disponer de un método que incorpore aproximaciones de orden superior de la ecuación del transporte de neutrones. Una posibilidad es hacer uso de las ecuaciones PN simplificadas (SPN ). En este trabajo se utiliza un método de elementos finitos h-p para obtener los modos dominantes asociados con una configuración dada del núcleo de un reactor nuclear con geometría hexagonal usando la aproximación SPN . El funcionamiento de las aproximaciones SPN (N = 1, 3, 5) se ha estudiado para distintos problemas de referencia.
[CAT] L'equació de la difusió neutrònica és una aproximació de l'equació del transport de neutrons que descriu la població de neutrons en el nucli de un reactor nuclear. En particular, considerarem reactors de tipus VVER i per a simular el seu comportament s'utilitzarà l'equació de la difusió neutrónica que es discretitza fent ús de malles hexagonals. La majoria dels codis de simulació de reactors nuclears utilitzen l'aproximació multigrup d'energia de l'equació de la difusió neutrónica per a descriure la distribució de neutrons a l'interior del nucli del reactor. Per a estudiar l'estat estacionari del reactor, és possible forçar la seua criticitat de forma artificial modificant les seccions eficaces de manera que s'obté un problema de valors propis diferencial, conegut com el problema dels Modes Lambda, que es resol per a obtenir els valors propis dominants del reactor i les seues corresponents funcions pròpies. Per a discretitzar aquest model s'ha fet ús d'un mètode d'elements finits amb adaptabilitat h-p. Aquest mètode permet l'ús de malles heterogènies, i de diferents refinaments com l'ús malles h-adaptatives, reduint la grandària dels diferents nodes, i el p-refinat, augmentant el grau del polinomi de les funcions bàsiques utilitzat en els desenvolupaments de la solució en els diferents nodes. S'ha desenvolupat un codi basat en un mètode d'elements finits d'alt ordre per a resoldre el problema dels Modes Lambda en un reactor amb geometria hexagonal i s'han obtingut els Modes dominants per a diferents problemes de referència. Una vegada que s'ha obtingut la solució per a la distribució de neutrons en estat estacionari, aquesta s'utilitza com a condició inicial per a la integració de l'equació de difusió neutrònica depenent del temps. Per a simular el comportament d'un reactor nuclear per a un determinat transitori, és necessari ser capaç d'integrar l'equació de la difusió neutrónica depenent del temps a l'interior del nucli del reactor. La discretitzación espacial d'aquesta equació es fa usant un mètode d'elements finits d'alt ordre que permet refinats de tipus h-p per a diferents geometries. Els transitoris que impliquen el moviment dels bancs de les barres de control tenen el problema conegut com l'efecte 'rod-cusping'. Estudis anteriors, en general, han abordat aquest problema utilitzant una malla fixa i definint propietats equivalents per als materials corresponents a les cel·les on es té la barra de control parcialment inserida. En el present treball es proposa l'ús d'un esquema de malla mòbil, de manera que en mallat espacial va canviant amb el moviment de la barra de control, evitant la necessitat d'utilitzar seccions eficaces equivalents per a les cel·les parcialment inserides. El funcionament de aquest esquema de malla mòbil s'estudia resolent diferents problemes tipus. La precisió obtinguda mitjançant de la teoria de la difusió en els càlculs de reactors és limitada quan es tenen elements de combustible complexos o es pretenen realitzar càlculs en malla fina. Per a millorar aquests resultats, és necessari disposar d'un mètode que incorpore aproximacions d'ordre superior de l'equació del transport de neutrons. Una possibilitat és fer ús de les equacions PN simplificades (SPN ). En aquest treball s'utilitza un mètode d'elements finits h- p per a obtenir els modes dominants associats amb una configuració donada del nucli de un reactor amb geometria hexagonal usant l'aproximació SPN . El funcionament de les aproximacions SPN (N = 1, 3, 5) s'ha estudiat per a diferents problemes de referència.
Fayez Moustafa Moawad, R. (2016). Approximation of The Neutron Diffusion Equation on Hexagonal Geometries Using a h-p finite element method [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/65353
TESIS

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This work aims to study the television series O Vigilante Rodoviário in dialogical and synchronous way. In the first field, we studied their relations with the literary narrative, as the melodrama, through the affiliation to the classic Hollywood movies. In the second field, we analyzed the ways of Brazilian television, a period marked by many trials and fed by numerous serial American productions vying with national programs. Surviving after the bankruptcy of Film Company Maristela, Ary Fernandes and Alfredo Palacios created a television series that attracted the interests of the multinational Nestlé and that was broadcast on TV Tupi. This process does reflect on what being a pioneer within an even television in training and shows how the work sought to fit into hegemonic discourses to share some values with the urban middle class, who owned public capital to acquire an expensive receiver and inaccessible to the masses and do not constitute, therefore, a product of the culture industry. Internally, the representations of the series were studied in their cultural and pedagogical dimension. There is in it a Manicheans view of the world according to which the criminal evil never triumphs. On the other hand, the show presents the viewer values as legalism, respect for elders and hierarchies, the love of animals, the importance of collective security and the exaltation of the São Paulo State Highway Patrol. O Vigilante Rodoviário, on the one hand, conveys values of the urban upper middle class, and on the other, was established as an attempt to create a national industry pioneer series of programs. It can be seen as a quest to recover the national cinema, but limited by competition from American cinema hegemonic even in Brazil
Este trabalho tem como objetivo estudar o seriado televisivo O Vigilante Rodoviário nos sentidos dialógicos e sincrônico. No primeiro campo, levantamos suas articulações com a narrativa literária, como o melodrama, passando pelas filiações ao cinema clássico hollywoodiano. No segundo campo, analisamos os caminhos da televisão brasileira, numa fase marcada por diversas experimentações e alimentada por inúmeras produções americanas seriadas que disputavam com os programas nacionais. Procurando sobreviver após a falência da Companhia Cinematográfica Maristela, Ary Fernandes e Alfredo Palácios criaram um seriado televisivo que atraiu os interesses da multinacional Nestlé e que foi transmitido pela TV Tupi. Esse processo faz refletir sobre o que é ser um pioneiro no interior de uma televisão ainda em formação e mostra como a obra procurava se encaixar em discursos hegemônicos ao compartilhar alguns valores com a classe média urbana, público que possuía capital para adquirir um aparelho receptor oneroso e inacessível às massas, não se constituindo, assim, um produto da indústria cultural. No âmbito interno, as representações do seriado foram estudadas em sua dimensão cultural e pedagógica. Há nele uma visão maniqueísta sobre o mundo segundo a qual o mal criminoso jamais triunfa. Por outro lado, o seriado apresenta ao telespectador valores como o legalismo, o respeito aos mais velhos e às hierarquias, o amor aos animais, a importância da segurança coletiva e a exaltação da Polícia Rodoviária do Estado de São Paulo. O Vigilante Rodoviário, portanto, de um lado, transmite valores da alta classe média urbana e, do outro, constituiu-se como uma tentativa de criar uma indústria nacional de programas seriados de forma pioneira. Ele pode ser visto como uma busca por recuperar o cinema nacional, mas limitada pela concorrência do cinema norte-americano hegemônico até mesmo no Brasil

碩士
國立臺南藝術大學
音像管理研究所
96
Road Movie is a type of movies of which the definition is hard to give. Road Movies have received little attention and even been regarded as a genre only. However, the structure of description, topic and content in a Road Movie imply a variety of philosophy of living and reflect different cultural phenomena. The multiple meanings of “the road” are formed by means of metaphors of traveling, myths and historical events. America is the place in which the road culture originated. It also symbolizes the modernistic implications of Road Movies. The novel On the Road brought about fashion of being against the mainstream norms and the film Easy Rider in the sixties resulted in the spirits of Hippie. All the classic texts of Road Movies seem to be at the important points of the American history. Furthermore, sub-types of Road Movies are developed owing to different economic factors, ideologies and values. With the advancement of Hollywood film industry, Road Movies exist with various topics as well as appearances. The historical context in which Road Movies originated will be analyzed in terms of the spirits of hermeneutics in the research. Also, Road Movies are considered the symbol of culture and the cultural implications of them will be discussed in this study.

Esta dissertação tem como intuito analisar a importância da viagem na estrada e como esta se torna icónica durante o início dos anos sessenta nos Estados Unidos da América. Através de exemplos significativos presentes na literatura norte-americana, como On the Road (1957), Travels With Charley (1962) e Rules of the Road (1998), esta dissertação tentará demonstrar quão relevante a viagem é e como esta pode influenciar as pessoas que a experienciam. Filmes também farão parte desta análise. Em particular, a importância da estrada no cinema será analisada através de Easy Rider (1969), Thelma & Louise (1991) e The Straight Story (1999). A análise inclui a contextualização destas obras e algumas noções referentes a técnicas cinematográficas e como estas podem influenciar o espectador. A abordagem de obras literárias e cinematográficas servirá para fundamentar um dos principais objectivos desta dissertação: o de demonstar como a viagem na estrada poderá ser muito mais que uma comum viagem e como a jornada muitas das vezes corresponde a uma mudança do foro íntimo.
This dissertation intends to analyze the importance of the road trip and how it became iconic during the early 1960s in the United States of America. Through significant examples in American literature, such as On the Road (1957), Travels With Charley (1962) and Rules of the Road (1998), this dissertation attempts to show how meaningful the road may be and how it can shape people who embrace it. Films are also part of this analysis. In particular, through Easy Rider (1969), Thelma & Louise (1991) and The Straight Story (1999) the importance of the road on screen will be examined. The analysis includes the contextualization of these films and some notions concerning cinematographic techniques and how they can influence the audience. Focusing on books and movies, one of the main objectives of this dissertation will be to demonstrate how road trips may be much more than regular trips and how the physical journey often corresponds to an inner change.

Tese de doutoramento, Estudos Artísticos (Estudos do Cinema e Audiovisual), Universidade de Lisboa, Faculdade de Letras, 2010.
Este trabalho propõe uma análise do espaço do road movie a partir da representação da cidade norte-americana, num género cinematográfico cuja edificação depende histórica, cultural e visualmente do elemento rural. Descreve-se o modo pelo qual este género recebe a paisagem norte-americana para, posteriormente, se interrogar a motivação da personagem para a viagem, em articulação com o urbano e o rural. Para evidenciar modalidades de conjugação distintas entre os dois espaços complementares e desenhar uma linha de desenvolvimento concreta, são comentados sete filmes: Easy Rider (Dennis Hopper, 1968), Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellman, 1971), Badlands (Terrence Malick, 1973), Paris, Texas (Wim Wenders, 1984), Stranger than Paradise (Jim Jarmusch, 1984) e Lost Highway (David Lynch, 1997).
work focuses on the Road Movie’s primal feature – space – through an analysis of the cityscape. It takes into account the ways through which North American landscape has been absorbed by this genre, in order to assess each character’s motivation to undertake his journey. This dissertation analyses the dynamics between rural and urban spaces in seven movies, so that a chronological development of the urban chronotope within the road movie context emerges. Those movies are Easy Rider (Dennis Hopper, 1968), Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellman, 1971), Badlands (Terrence Malick, 1973), Paris, Texas (Wim Wenders, 1984), Stranger than Paradise (Jim Jarmusch, 1984) and Lost Highway (David Lynch, 1997).

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos Americanos), Universidade de Lisboa, Faculdade de Letras
O presente trabalho tem como objectivo inquirir sobre a importância da viagem no cinema americano contemporâneo, tendo sido considerados dois espaços cinematográficos: por um lado, a estrada – especificamente no road movie – e, por outro, a cidade – num tipo de filme que dialoga com este género. Distantes, mas complementares, estes dois lugares oferecem-se como oportunidade para o aprofundamento de uma reflexão sobre a viagem como elemento expressivo de uma condição moderna do ser humano, na qual movimentos e (des)encontros são factores de construção de identidade e memória. A análise realizada assenta em doze filmes que têm como elemento estruturante a viagem e tenta, por meio de uma perspectiva multidisciplinar, compreender, a nível teórico, a ligação entre cinema-estrada e cinema-cidade. Esta associação, por sua vez, torna possível perspectivar o percurso empreendido por cada um dos protagonistas dos filmes seleccionados, e o modo como esse percurso coloca questões, dúvidas, ao indivíduo em constante transição, permitindo-lhe assumir, de certa forma, diferentes identidades. Este estudo procura, assim, explorar de que maneira certas práticas, movimentos e lugares potenciam a transformação dos protagonistas, criando um novo mapa identitário, marcadamente dinâmico, que se renova ou reconstrói de acordo com as experiências de cada um.
This study aims at understanding the importance of the journey in contemporary American cinema. In this sense, it analyzes two cinematic spaces: the road – by specifically exploring the road movie genre – and the city – by considering films that dialogue with that same genre. Though these may seem culturally distant, both complete each other by reflecting on the journey as an important element that expresses the modern condition of man, which is characterized by movements and (dis)encounters that likewise contribute to a better understanding of identity and memory. By analyzing twelve contemporary films, which have as their basis the journey, and using a multidisciplinary approach, this study tries to grasp the connection between cinema-road and cinema-city. This association, in its turn, allows for reflection in what concerns the path taken by each one of the main characters as a way of questioning the being that undertakes different identities while in movement. Thus, this research explores the way these practices, movements and places change the protagonists; consequently creating a new dynamic identitary map that is renovated or reconstructed according to each of the characters’ experiences.
Fundação para a Ciência e a Tecnologia (FCT, SFRH/BD/67060/2009)

Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des œuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’œuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures.
Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac, followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literary criticism, and recently extended by scholars to cinematographic objects. We show how road novels and road movies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narratives calls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures.
Thèse réalisée en cotutelle, sous la direction de M. Philippe Despoix (Université de Montréal) et de M. Michel Marie (Université Sorbonne Nouvelle-Paris 3)

This master thesis deals with one of the current trends in cinema - the so-called climate change film. Film as a popular medium is able to influence public debate and this paper's main objective is to explain how environmental issues can be portrayed in film and how such films shape the climate change debate. In the first, theoretical part of this thesis, the aim is to briefly introduce the history and context of climate change debate from the 1970s to the present day based on sources primarily from interdisciplinary cultural and environmental studies. It also explains how environmental problems started to arise in different art spheres, above all in American cinema from 1995 to the present. The second part analyzes four American feature films of different genres: The Day After Tomorrow (2004) directed by Roland Emmerich's, The Road (2009) directed by John Hillcoat, Before the Flood (2016) directed by Fisher Stevens and Darren Aronofsky's mother! (2017). The final chapter summarizes the findings, explains the currently prevalent apocalyptic narrative and discusses why such approach is not effective and how filmmakers need to transform climate change stories into positive narratives that inspire change and hope.

碩士
國立中正大學
資訊工程研究所
104
Because of the development of the hand-held devices with the global po- sitioning system devices, location based services become popular to support various applications. Most of the location based services are based on client and server model. In this paper, we set the moving objects such as vehicle as the client side. The moving objects periodically update its location informa- tion to the server side. The server can response the queries from the moving objects with nearly 100% query accuracy. However, periodically update gen- erates a lot of network messages which are transmitted between the moving objects and the server. Our approach adopts the concept of the safe region in which the moving objects do not need to issue a location update to reduce the network messages. Although the previous approaches adopt the concept of safe region to reduce the network messages, they still spend a lot of net- work messages to guarantee high query accuracy. In this paper, we extend the approach of partion-based lazy updates for continuous queries over moving objects (PLU) over a road network. We assume that all the query requests are range queries which requires that the server returns all the data objects within a specified road network distance from the current location of the queries. We predict the future location of the moving objects. Subsequently, we add the query movement information into the safe region and change the location update mechanism to reduce the network messages. The experiment results show the reduction rate of the network messages of our approach outperforms that of PLU.

Tese de doutoramento, Belas-Artes (Audiovisuais), Universidade de Lisboa, Faculdade de Belas-Artes, 2016
My thesis, the result of an Artistic Research Project, is composed of a theoretical part, which is titled “Semiotics and Perception of Substitute Location in Fiction Film” and a practical work, a Road Movie. The Road Movie will take us through a coordinate system of topics (alienation, assimilation, ideological interpellation, immediacy, etc.) that the theoretical work approaches from a different angle: For the theoretical part, I have analyzed a number of fiction films and artworks with a special focus on the question how places and locations are perceived by the human visual system, which operates as an interface or even as a translation centre between seeing, perceiving, mapping and being. Visual perception is at the same time the source that anchors semiotic information perceived as representative for a real, physical location and the projection point for mapping the world in schemes of virtual environments. Any filmmaker or photographer has to find his own position on a scale that goes from 'total subjective projection' to 'total objective documentation'. Hence, the semiotics of a filmic/photographic narrative space is not only a geographical, geometrical, or a cinematographic category, but always also a moral category. This is expressed in the double meaning of the term point of view, which designates simultaneously a topological and an ethical dimension. As the object of my theoretical research I have chosen a practice that is common in feature film production. It should serve as a point of departure for my speculative journey, and this phenomenon is called 'Substitute Location'. The James Bond movie Die another Day (Lee Tamahori, 2002) is one of many mainstream movies, which illustrate this practice. The film has a plot that takes place in part in Havana, Cuba and some of the scenes show the actor Pierce Brosnan as agent 007 walking along the famous Malecón in Havana, but these scenes were actually shot in Cádiz, Spain, so Cádiz serves as a ‘Substitute Location’ for Havana. A location is a place where a film or a TV series is wholly or partially produced, in addition to the scenes that are shot in a film studio or on extra sets produced for the film. Since Roberto Rossellini and Italian neo-realism, many filmmakers prefer to shoot in real locations because they believe that they will catch more realism if they are in a real place, and not in an artificial studio set pretending to be a real place. The realists - among them many documentary filmmakers - assume, in the philosophical tradition of Aristotle, that the basic structures of reality are reliable, can be reflected by experience, and, in principle, can be represented adequately in linguistic or other symbolic (iconographic) form. The particular phenomenon of ‘Substitute Location’ addresses in a concrete way, how disembodiment and the ideological semiotics of 'make-believe' work hand in hand. Substitute Location allow us simultaneously to assume that somebody in the film team (the responsible producer/ director/ location scout) believed that location A 'looks more historically appropriate than' or 'will be perceived as' location B while exploring moments of convergence and conflict between the signifier and the signified. A Substitute Location then becomes a potential, yet involuntary, environment for a dialectics of seeing, where the blind spots of our projections become an integral part of our individual and collective perception of identities and their ideological interpellation. My artistic approach to reality is influenced by the discipline of Psychogeography. There is no universal definition of what Psychogeography means, however, this discipline was undoubtedly influenced, if not created by Guy Debord and the Situationist International (SI). The body of work which has been created by the SI may seem trivial today but I think that the current state of our society, which has raised passive consumption and its prerequisite, individual financial success, to the measure of all things, can not only be grasped, but it also can be effectively countered with the methods and strategies of the SI. Psychogeography endeavors to develop relevant insights into past, contemporary and future environments, and today, these environments are constructed to a significant degree by mass and social media. In some respect, Psychogeography seeks to reclaim a form of travel that was once synonymous with adventure. Today, one can only state a demise of real travel that is no longer individualizing or heroic. Psychogeographers are disenchanted at the sense of inertia, with which modern travelers seem to move around the globe, taking no risks and facing no unknowns. Prior to the breakdown of global barriers in the semiosphere, travel was not an almost instant change of places, but a transforming event filled with historical and psychological significance. Since the question of identity is closely related to places and their meaning, my research focused on the changes that the ongoing process of mediatization brings about and in particular, the role of the screen device in that process. I assume that the ubiquitous presence of screens brings forth a collective sense of dissociation, as identity is increasingly constructed outside of an anchoring body. With this in mind, I propose to broaden the concept of Substitute Location and apply it to all our projections. The interfacial approach to the lifeworld generates a universe beyond, that is, like Walter Benjamin's Arcades, an abortive ersatz dream-space (substitute location), which serves predominantly to stir desires for consumerist impulses. Once our desires are projected into this dream media space, our bodies are left behind. Occasionally, an opening appears, and we can look back onto the world outside of the dream, which looks like a gigantic landfill for waste and debris. I define my task as a researcher in the field of Psychogeography as to find and construct dialectical images from that historical depository. However, I am equally interested in finding out, how the measure of a human lifetime can resist that collective sense of dissociation. Therefore, my practical work, the Road Movie took on the form of a biography. Biographies look back on a past, which is topical. If people had no ties to a place, there would be no identity, no culture. My research analyzes the modifications and transformations of places into mediated space, from 'site' to 'sight', as it is constituted in the film narrative. The memory of a real, physical body or place, and their uses as disembodied signifiers helps creating the shape of a grand narrative, which constitutes a structured landscape of thinking. The film narrative is solipsistic. Subjectivity becomes distanced and is applied to society as a whole, which collects thousands of narratives. Not only things and memories but also signs are located. By focusing on a spatial description, the narrative can be organized in relation towards History as well as towards its ideological interpellation with individual identity. At a first glance, there is only a road and its name: Rua Ricardo Chibanga. Toponymy is an important part of historical geography and henceforth of Psychogeography: toponyms are often very stable in time, and they document the history of a settlement. Migratory movements of individuals are reflected in the origin of names, the anthroponyms, which are particularly instructive. Residential site names like Lourenço Marques (city), Mount Everest (mountain) or Rhodesia (country) represent the reference of general toponyms to the names of explorers and colonizers in the strict sense, which means, those places are ideologically interpellated by their very names. What struck me when I came across this road sign are the absent signifiers: the sign says that Ricardo Chibanga is a bullfighter, but it does not say that he is of African origin. However, his name makes this fact conspicuous by its absence and nevertheless influences the meaning of a signifier actually used. Another form of absence has the specific label of 'that which goes without saying', in this case, the fact that usually bullfighting is an activity reserved for a predominantly white, Iberian aristocratic class. Suddenly, the divisibility of this place emerges from the name, from the language that came to inscribe this place, just as a ‘point de capture’ keeps a floating signifier in place. As such a language must communicate something (something other than itself) the road sign does not exactly name the just the place, but it creates a whole system of values. The street name refers to a person, an African bullfighter, who came to live in Portugal. Portugal had been a colonial power at the time when he came. The official ideology in Portugal stated that all territories in Africa were actually an integral part of Portugal and there was no such thing as a colony - the natives of these territories were actually citizens of Portugal. The road that I encountered now turns into a place where a tension emerges with the split between the topographic vision of colonial Africa and the proper name Rua Ricardo Chibanga haunts this urban space with an additional meaning that needed to be addressed: the name of a living person has become the name of a road. This act of assimilation is actually a historical 'closure'. The Road Movie, which is in my case a film about a road, aims at reopening this 'closed case'.

Li Xiang.
"September 2004."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (p. 164-172)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.