Relevant bibliographies by topics / Zombi

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Zombi'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Zombi"

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De la Garza, Manuel, Mariana Zerón, and Guadalupe Briano-Turrent. "Comportamiento estratégico de las empresas Zombis en México." European Journal of Family Business 12, no. 1 (2022): 51–62. http://dx.doi.org/10.24310/ejfbejfb.v12i1.10528.

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Las empresas zombis tienen una connotación negativa dado que afectan a los mercados en donde operan. Para entender este tipo de empresas en México, se analiza la influencia del tipo de estrategia empresarial en la probabilidad de ser empresa zombi. Para ello, se empleó un análisis logit para evaluar la probabilidad de incurrir en la característica zombi, se usó un panel de 99 empresas que cotizaron en la Bolsa Mexicana de Valores durante el periodo de 2013 a 2017. El resultado empírico evidencia que el tipo de estrategia defensivo disminuye la probabilidad de incurrir en la situación zombi; por otro lado, el tipo de estrategia analizador y proactivo muestran una mayor probabilidad en ser catalogadas como empresas zombis, lo que, a priori podría sorprender, sin embargo, el entorno institucional Latinoamericano favorece que dicho comportamiento sea propenso a derivar en la situación zombi.
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Sánchez Trigos, Rubén. "Muertos, infectados y poseídos: el zombi en el cine español contemporáneo." Pasavento. Revista de Estudios Hispánicos 1, no. 1 (2013): 11–34. http://dx.doi.org/10.37536/preh.2013.1.1.617.

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El zombi experimenta un reciente auge en la cultura popular española contemporánea en forma de literatura, cómic o cine. El artículo analiza los últimos títulos del subgénero en esta cinematografía a través de su compleja relación tanto con el cine de zombis extranjero como con la propia tradición del personaje en el cine español del pasado. Lo que esta doble línea de lectura parece revelar es la existencia de un vínculo temático consistente entre el zombi español de los años sesenta-setenta y el zombi español de hoy: vínculo que se focaliza, fundamentalmente, en el papel que la religión cumple en el subgénero. Así, películas del tardofranquismo como la tetralogía de los caballeros templarios de Amando de Ossorio comparten con la serie Rec la representación del objeto religioso como una influencia numinosa que "crea" y controla a los zombis. La distancia irónica que la serie de Jaume Balagueró y Paco Plaza mantiene con este mismo objeto es significativa, sin embargo, de la evolución que el arquetipo del zombi ha experimentado en la cinematografía española; evolución que ha cristalizado en la siguiente paradoja: siendo Rec el producto zombi español que más rotundamente asimila las innovaciones del personaje en el siglo XXI, es, a la vez, el más internacional y el más local.
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Brito Alvarado, Leonardo Xavier, and Daniela Segovia Velastegui. "Metáforas sociales del zombi romeriano." Antropología Experimental, no. 21 (September 22, 2021): 517–28. http://dx.doi.org/10.17561/rae.v21.6224.

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El tsunami zombi arrasa, películas, series, novelas, videojuegos, incluso las protestas sociales se han convertido en espacios zombis. Esta figura posee argumentos conceptuales que permiten visualizarlos como referentes metafóricos, para diversas dinámicas sociales De las primeras películas, que reflejaban una crítica al racismo cultural en América, donde se mostraba a esta figura como parte de las leyendas africanas asentadas en Haití, en que prevalecía los rituales del vudú, alejados de la modernidad occidental, hasta los zombis de George Romero que trazan debates sociales complejos, alejándolos de las ideas de prácticas de brujería y colocándolos más cerca de los relatos científicos; los zombis son los monstruos contemporáneos más importantes, porque representa un espejo desde nos proyectamos frente un apocalipsis total. Bajo estas ideas, este ensayo recorre, brevemente, el cine zombi desde sus inicios de la década de los treinta hasta ubicarlo en las producciones de George Romero quien dio las pautas, para ubicar a esta figura en los debates sociales, y de ahí proyectarlo como un imaginario de nuestros tiempos.
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Aldegani, Emilliano. "Filosofía zombi." Prometeica - Revista de Filosofía y Ciencias, no. 6 (May 1, 2012): 121–24. http://dx.doi.org/10.24316/prometeica.v0i6.36.

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MARTÍNEZ LUCENA, Jorge. "Filosofía Zombi." Comunicación y Hombre, no. 8 (November 15, 2012): 163–65. http://dx.doi.org/10.32466/eufv-cyh.2012.8.431.163-165.

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Kang, Yeong-a. "Revealing the Violence of Zombi(fication): Joyce Carol Oates’s Zombie." Journal of the Humanities 96 (September 30, 2021): 53–77. http://dx.doi.org/10.21211/jhum.96.3.

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Romero Baltodano, Andrés. "Cine Club La Moviola Ciclo Digital: Monstruos, zombis y seres transparentes." Posibilidades 2, no. 2 (2021): 88–93. http://dx.doi.org/10.15765/p.v2i2.2876.

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La ponencia sobre el ciclo Monstruos, Zombis y Seres Transparentes del Cine Club la Moviola en el 2021, se centra en el recorrido que desde varios autores cinematográficos, nos plantea lo monstruoso como detonante moral, erótico o sobrenatural. 
 Los monstruos se asocian al “mal”, dado que los cánones estetizantes desde el “bien”, concuerdan con presentaciones simétricas, equilibradas, anglosajonas o europeizantes, aunque los “monstruos” también se originan de la mano de hidras, medusas, íncubos, gorgonas y así mismo, aparece lo zombi como entidad y concepto y los seres transparentes, que son reconocidos como fantasmas y que atraviesan toda la curaduría del ciclo.
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De la Garza Cárdenas, Manuel Humberto, Yesenia Sánchez Tovar, and Mariana Zerón Félix. "Impacto de la rentabilidad y la cuota de mercado en las empresas zombis en México." Revista Mexicana de Economía y Finanzas 14, no. 4 (2019): 729–43. http://dx.doi.org/10.21919/remef.v14i4.107.

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El objetivo de este trabajo consiste en profundizar en la presencia de empresas zombis en la Bolsa Mexicana de Valores (BMV) y los factores que inciden en su existencia. Para ello, a través del método CHK se determinó la presencia de empresas zombis en México y, posteriormente, mediante un modelo logit se evalúa el impacto de la rentabilidad y la cuota de mercado en las empresas zombi. Los datos empleados corresponden a 102 empresas inscritas en el mercado de valores de México en el año 2015, lo cual permitió identificar la presencia de 18 empresas con características zombis. Mientras que el análisis empírico confirmó que la cuota de mercado impacta positivamente a las empresas zombis, mientras que la rentabilidad disminuye la probabilidad de incurrir en esta situación. El modelo empleado representa uno de los trabajos pioneros en América Latina sobre este tipo de empresas y da luz sobre el comportamiento que siguen dichas organizaciones mostrando que las características del mercado pueden ser otros predictores importantes de las empresas zombis y representan futuras líneas de investigación relevantes.
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Brito Alvarado, Xavier, and Saudia Levoyer Salas. "La geopolítica cinematográfica de los zombis: notas para el debate." Revista humanidades 10, no. 2 (2020): e41767. http://dx.doi.org/10.15517/h.v10i2.41767.

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El zombi ha dejado de ser la estrella de películas de bajo presupuesto y se ha convertido en un concepto científico (biológico, social, económico y tecnológico), en una metáfora para la reflexión de las diversas problemáticas sociales, es un ente que ha pasado de humano a lo poshumano, hasta llegar a ser un antisujeto. El zombi causa temor en dos direcciones: la primera, en ser devorado por este y la segunda, en convertirse en uno. Su posicionamiento ontológico lo ubica entre el sujeto y el objeto, rompiendo los modelos duales, no importa el género, la condición socioeconómica, ni la geografía, por ello es la metáfora ideal para el análisis social contemporáneo, donde las miradas marxistas, poscoloniales, de género, posestructuralistas, posmodernas y las teorías poshumanistas entran en diálogo. Desde un abordaje teórico, proveniente de la antropología, la sociología y el cine, este ensayo reflexiona al zombi por fuera de las clásicas miradas reduccionistas que lo han ubicado como un producto cultural marginal, destinado a satisfacer momentos lúdicos, contrario a esta postura, lo que se intenta, más bien, es dar una visión crítica del zombi y su injerencia social contemporánea.
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Butsayawarapat, Juntawong, Khamsuk, and Somta. "Comparative Transcriptome Analysis of Waterlogging-Sensitive and Tolerant Zombi Pea (Vigna Vexillata) Reveals Energy Conservation and Root Plasticity Controlling Waterlogging Tolerance." Plants 8, no. 8 (2019): 264. http://dx.doi.org/10.3390/plants8080264.

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Vigna vexillata (zombi pea) is an underutilized legume crop considered to be a potential gene source in breeding for abiotic stress tolerance. This study focuses on the molecular characterization of mechanisms controlling waterlogging tolerance using two zombi pea varieties with contrasting waterlogging tolerance. Morphological examination revealed that in contrast to the sensitive variety, the tolerant variety was able to grow, maintain chlorophyll, form lateral roots, and develop aerenchyma in hypocotyl and taproots under waterlogging. To find the mechanism controlling waterlogging tolerance in zombi pea, comparative transcriptome analysis was performed using roots subjected to short-term waterlogging. Functional analysis indicated that glycolysis and fermentative genes were strongly upregulated in the sensitive variety, but not in the tolerant one. In contrast, the genes involved in auxin-regulated lateral root initiation and formation were expressed only in the tolerant variety. In addition, cell wall modification, aquaporin, and peroxidase genes were highly induced in the tolerant variety under waterlogging. Our findings suggest that energy management and root plasticity play important roles in mitigating the impact of waterlogging in zombi pea. The basic knowledge obtained from this study can be used in the molecular breeding of waterlogging-tolerant legume crops in the future.
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Dissertations / Theses on the topic "Zombi"

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Del, Olmo Ramon Alex. "El eterno retorno del no-muerto como arquetipo fílmico: Una aproximación a la figura del zombi en la cultura popular contemporánea." Doctoral thesis, Universitat Ramon Llull, 2013. http://hdl.handle.net/10803/116217.

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Aquest estudi investiga la figura del mort vivent –zombi- des de una perspectiva interdisciplinar per tal de descubrir les causes del renaixement al que s’ha vist sotmès el subgènere a partir del atemptat terroriste produït als Estats Units l’ onze de setembre del 2001. Per això, el treball aborda la figura del no-mort des de diferents àmbits i èpoques històriques. Primer, dibuixant un recorregut que mostra la rellevància d’aquesta figura en la cultura occidental, a través de la iconografía macabra a partir de la seva representació a les Dances Macabres i els Triomfs de la Mort durant l’Edat Mitjana, per a prosseguir amb el Renaixement i la cultura de la dissecció dels cossos que tènia lloc en els Teatres Anatòmics i finalment mostrant la rellevància d’aquesta figura entesa des de un prisma capitalista i psicoanalític, basant-se en les teoríes marxistes i freudianes del capitalisme i del sinistre. La següent part de l’estudi es centra en el simbolisme del zombi en el folclore europeu per a prosseguir cap al seu inici etnogràfic. Aquí tendrán rellevància tres figures que mostraràn les primeres aproximacions d’aquesta figura des de l’àmbit de l’etnografía. En primer lloc W. Seabrook amb el seu treball “The Magical Island” que marcarà un punt d’inflexió entre les obres de no-ficció prèvies així com a la popularització de la figura del zombi en la cultura popular americana. Seguidament, el treball de camp de Zora Neale i la seva aproximació al vudú i als rites religiosos haitians i finalment, la controvertida i més actual investigació de Wade Davis sobre el procès de zombificació en les societats haitianes. Aquestes tres visions enmarcaràn el context històric i cultural haità i la seva religió majoritaria –el vudú- per a ajudar-nos a entendre els inicis del zombi com a aparell ideològic i la zombificació com un càstig social en la societat haitiana. La segona part de l’estudi canalitza la figura del zombi dins del circuit cinematogràfic com la consecució lògica de l’arribada d’aquesta figura de terror a occident, explorant el seu éxit com arquetip fílmic a partir del considerat primer film del subgènere “White Zombie” i de la seva primera explotació fílmica entre els anys 1930 i 1950. Acte seguit, s’explora tres cinematografíes bàsiques i complementàries entre sí que mostren l’evolució del subgènere, així com els seus principals directors. De Estats Units, George A. Romero, d’Espanya Amando de Ossorio i Jorge Grau i d’Italia Lucio Fulci. Finalment s’analitza l’últim renaixement de la figura del zombi en la cultura popular a través de la Cultura de l’Apocalipsis de Parfrey i l’estètica de la destrucció a partir del 11/S analitzant els motius de l’inici d’aquest renaixement així com tenint en compte els aspectes de mercat i tècnics que converteixen al zombi en una figura transmediàtica, exemplificat a través del videojoc “Resident Evil” i de la novela gràfica de Robert Kirkman “The Walking Dead” que ens portarà a traçar el futur d’aquest icone de terror al finalitzar la seva tercera explotació.<br>Este estudio investiga la figura del muerto viviente –zombi- desde una perspectiva interdisciplinar para descubrir las causas del renacimiento al que se ha visto sometido el subgénero a partir del atentado terrorista producido en Estados Unidos el 11 de septiembre del 2001. Para ello el trabajo aborda la figura del no-muerto desde diferentes ámbitos y épocas históricas. Primero, trazando un recorrido que muestra la relevancia de esta figura en la cultura occidental, a través de la iconografía macabra a partir de su representación en las Danzas Macabras y los Triunfos de la Muerte durante la Edad Media para proseguir en el Renacimiento y la cultura de la disección de los cuerpos que acontecían en los Teatros Anatómicos y finalmente mostrando la relevancia de esta figura entendida desde un prisma capitalista y psicoanalítico, basándose en las teorías marxistas y freudianas del capitalismo y de lo ominoso. La siguiente parte del estudio se centra en el simbolismo del zombi en el folclore europeo para proseguir hacía su inicio etnográfico. Aquí tomarán relevancia tres figuras que mostrarán las primeras aproximaciones a esta figura desde el ámbito de la etnografía. En primer lugar W. Seabrook con su trabajo en “The Magical Island” que marcará un punto de inflexión entre las obras de no-ficción previas así como a la popularización de la figura del zombi en la cultura popular americana. Seguidamente, el trabajo de campo de Zora Neale y su aproximación al vudú y a los ritos religiosos haitianos y finalmente la controvertida y más actual investigación de Wade Davis acerca del proceso de zombificación en las sociedades haitianas. Estas tres visiones enmarcarán el contexto histórico y cultural haitiano y su religión mayoritaria –el vudú- para ayudarnos a entender los inicios del zombi como aparato ideológico y la zombificación como un castigo social en la sociedad haitiana. La segunda parte del estudio encauza la figura del zombi dentro del circuito cinematográfico como la consecución lógica a la llegada de esta figura de terror a occidente, explorando su éxito como arquetipo fílmico a partir del considerado primer film del subgénero “White Zombie” y de su primera explotación fílmica entre los años 1930 y 1950. Acto seguido se explora tres cinematografías básicas y complementarias entre sí que muestran la evolución del subgénero, así como a sus principales directores. De Estados Unidos, George A Romero, de España Amando de Ossorio y Jorge Grau y de Italia Lucio Fulci. Finalmente se analiza el útlimo renacimiento de la figura del zombi en la cultura popular a través de la Cultura del Apocalipsis de Parfrey y la estética de la destrucción a partir del 11/S analizando los motivos del inico de este renacimiento así como teniendo en cuenta los aspectos de mercado y tecnológicos que convierten al zombi en una figura transmediática, ejemplificado a través del videojuego “Resident Evil” y de la novela gráfica de Robert Kirkman “The Walking Dead” que nos llevará a trazar el futuro de este icono de terror al finalizar su tercera explotación.<br>This study investigates the figure of the undead –zombi- from an interdisciplinary perspective to discover the causes of his rebirth in the film genre since the terrorist attacks ocurred in the United States on September 11, 2001. This investigation deals with the figure of the undead from different areas and historical periods. First, tracing a route that shows the importance of this figure in Western culture, through the Macabre Iconography and its representation in the Dances of Death and the Triumph of Death during the Middle Ages to continuing in the Renaissance with the culture of dissection of corpses that happened in the Anatomical Theatres to finally showing us the relevance of this figure understood from a psychoanalytic and marxism prism, based on Freudian and Marxist theories of the uncanny and capitalism. The next part of the study focuses on the symbolism of the zombi in European folklore to continue seeking his etnographic start. Here take relevance three fundamental authors and their approaches to this figure from the field of etnography. Firstly W. Seabrook with his work on “The Magical Island” wich will mark a turning point between non-fiction works prior to he popularization of the zombi figure in American popular culture. Then, the fielwork of Zora Neale and her approach to vudoun and the Haitian religious rites and finally the most current and crontroversial investigation leaded by Wade Davis, showing us the process of zombification in Haitian society. These three views frame the historical and cultural context and its principal religion –vudoun- to help us understand the beginnings of the zombi as ideological apparatus and zombification as a social punishment in Haitian society. The second part of the study directs the zombi within the film circuit and the arrival of this horror figure into the West, exploring his success as a film archetype with effect from “White Zombie” considered the first zombi film, and the start of the first film explotation of the genre between 1930 and 1950. Then explores the three principal countries showing the evolution of the genre, and their main directors. From United States, Geaorge A. Romero, from Spain Amando de Ossorio and Jorge Grau, and from Italy Lucio Fulci. Finally we analyze the renaissance of the zombi figure in popular culture trhough Adam Parfrey’s “Apocalypse Culture” and the Aesthetics of Destruction after 11/S studing the reasons for this revival and taking into account the market and techological aspects that rebuild the zombi as a transmedia icon, exemplified trhough the video game “Resident Evil” and the graphic novel by Robert Kirkman “The Walking Dead”, leading us to chart the future of this horror icon –the zombi- at the end of his third wave, and at the moment, last wave.
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Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.

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The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.
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Clifton, Walter Scott. "Ways to skin the zombie cat a look at the problems associated with Chalmers's zombie-argument /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11282005-152528/.

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Thesis (M.A.)--Georgia State University, 2005.<br>Title from title screen. Reina Hayaki, committee chair; George Rainbolt, Robert Almeder, committee members. Electronic text (69 p.) : digital, PDF file. Description based on contents viewed May 9, 2007. Includes bibliographical references (p. 68-69).
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Clifton, Walter Scott. "Ways to Skin the Zombie Cat: A Look at the Problems Associated with Chalmers's Zombie-Argument." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/philosophy_theses/3.

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In contemporary philosophy of mind, the issue of consciousness has taken center stage. Broadly speaking, those who deal with consciousness fall into two camps: those who prioritize empirical work and those who favor conceptual investigation. One prominent argument has served to deepen the divide: the argument for the possibility of zombies. In this paper I intend to examine closely this argument, as it’s presented by David Chalmers, and some of the attempts to discredit it. In so doing, I present some of my own arguments against it, as well as the claim that if it’s sound, then materialism is false. Finally, I present a sketch of a new way of thinking about consciousness that would, I argue, guard against the threat—real or merely apparent—of arguments such as the zombie-argument.
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Charredib, Karim. "Les zombies et le visible, ce qu'il en reste : une pratique artistique de la hantise cinématographique." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010578/document.

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Cette thèse explore les figures de la revenance et de la hantise d'un point de vue politique et esthétique, c'est-à-dire dans leur rapport à la société et à l'image. A cette fin le cinéma est le champ d'expérimentation et de manipulation puisque le cinéma, et notamment le cinéma américain, fait partie de ces mythologies modernes qui ont bercé le XXe siècle, avec ses histoires, codes et figures imposées. Les images produites par le cinéma sont ancrées dans l'inconscient et l'imagerie collectifs des spectateurs. C'est donc toute sa grammaire qui est à l'étude sous l'angle du mort-vivant : du héros au second rôle, de la perspective saturée du décor au hors-champ mortel. Si le zombie est la figure de proue de cette thèse, il s'agit moins de l'étudier d'un point de vue ethnographique que d'user de ses particularités afin de questionner le visible sur le mode de la persistance, de la pratique du retour incessant et de l'envahissement, c'est-à-dire comme une forme de résistance. Les revenants dévoilent lentement mais inexorablement l'envers du décor et délimitent une nouvelle topographie, déplacent les seuils et les frontières convenus : entre morts et vivants, entre visible et caché, entre champ et hors-champ. Les limites de l'espace et du corps sont mises à l'épreuve. Dans ma pratique, cette redéfinition des limites transforme l'image et l'univers filmique en ce que l'on pourrait nommer des « limbes filmiques » par des actions simples dans et sur l'image cinématographique : envahissement, contamination, pourrissement, corruption, dévoration, prolifération, raréfaction. Les morts-vivants revisitent ainsi, tels de riches touristes, les mythologies du cinéma<br>The thesis explores the concepts and figures of revenance and haunting from a political and aesthetic point of view that is to say in their relation to historical and social contingencies, the real and the image. Cinema, and in particular American cinema, forms a significant part of the modern mythologies that have rocked the cradle of the 20th century, with its stories, codes and figures. The images produced by cinema are seamlessly embedded and archived in the spectator's unconscious and the collective imagery. I aim to reconsider the grammar of cinema through the angle of the living dead: the supporting roles as well as the principal characters, the saturated perspective of the sets as much as the deadly off-screen. The zombie is the figurehead of the thesis, but my purpose is less about studying it from ethnographical point of view than of making use of its particularities to question the visible on the mode of persistence, of the practice of the unceasing comebacks and of invasion, that is to say as an act of resistance. The revenants unveil slowly but inexorably the secrets beyond the door, and mark the boundaries of a new topography, shifting and altering the seemingly fixed thresholds; accessing the space between the dead and the living, in between the visible and the hidden, and in between on-screen and off-screen. This redefining of the margins and the boundaries transforms the image and the filmic universe into what could be called « cinematic limbo » by simple actions in and on the image: invasion, contamination, rotting of, corruption, devouring of, proliferation. The living dead continuously revisit, like sad tourists, the mythology of the cinema
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Dias, Marina Santos. "Determinants of zombie firms in the eurozone." Master's thesis, Instituto Superior de Economia e Gestão, 2021. http://hdl.handle.net/10400.5/23400.

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Mestrado Bolonha em Finanças<br>Este trabalho pretende analisar os determinantes de empresas zombie. Empresas zombie são empresas que sobrevivem apesar de apresentarem resultados negativos continuamente. Este estudo utiliza uma definição principal (empresa deve ter mais de 10 anos e apresentar uma taxa de cobertura de juros inferior a 1 por três anos consecutivos) e uma definição alternativa (definição principal e apresentar um rácio Tobin’s q e um ROE inferior à média do sector, por três anos consecutivos). Empresas zombie representam um fenómeno negativo, pois resultam em efeitos negativos sobre a produtividade e crescimento de outras empresas. Assim, a questão principal é: “Quais são os determinantes de empresas zombie na Zona Euro?”. As conclusões poderão ajudar a identificar, prever e evitar empresas zombie. Concluímos que empresas zombie são frequentemente pequenas e médias empresas, com 40 anos e que laboram em Consumo, Indústria, Saúde e Tecnologia. A probabilidade de uma empresa ser zombie cresce com corrupção, rácio de dívida e intangíveis e decresce com competitividade, ROA e rácio de liquidez. Concluímos também que cerca de 11% e 5.5% das observações são empresas zombie, sob a definição principal e alternativa, respetivamente.<br>This paper aims to study zombie firms’ determinants. Zombie firms are firms who manage to survive although they keep reporting negative equity. This paper uses a primary zombie definition (firm over 10 years old with an ICR below 1 for three years in a row) and an alternative definition (primary definition and a Tobin’s q ratio and an ROE below-median within the sector, for three years in a row). Zombie firms are a negative phenomenon who result in negative effects on other firms’ productivity and growth. Thus, the research question is: “What are the determinants of zombie firms in the Eurozone?”. Conclusions can be used to identify, predict, and avoid zombie firms. We find that zombie firms are often SME, around 40 years old and mostly present in the Consumer Cyclicals, Industrials, Healthcare and Technology. The probability of a firm being a zombie grows with corruption, debt ratio and intangibles and decreases with competitiveness, current ratio, and ROA. We also find that zombie firms represent around 11% and 5.5% of our observations under the primary and alternative definitions, respectively.<br>info:eu-repo/semantics/publishedVersion
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Pau, J. M. Ngul Khan. "When the world of Zomi changed." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Austin, Emma Jane. "A strange body of work : the cinematic zombie." Thesis, University of Portsmouth, 2010. https://researchportal.port.ac.uk/portal/en/theses/a-strange-body-of-work(b8b025f1-369e-4b5e-80c9-760a40e964a0).html.

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This thesis investigates the changing cinematic representations of a particular figure in horror culture: the Zombie. Current critical perspectives on the figure of the Zombie have yet to establish literary and cultural antecedents to the cinematic portrayal of the Zombie, preferring to position it as a mere product of American horror films of the 1930s. This study critiques this standpoint, arguing that global uses of the Zombie in differing media indicate a symbolic figure attuned to changing cultural contexts. The thesis therefore combines cultural and historical analysis with close textual readings of visual and written sources, paying close attention to the changing contexts of global film production and distribution. In order to present the cinematic Zombie as a product of historical, geographical and cultural shifts in horror film production, the thesis begins by critiquing existing accounts of Zombie film, drawing attention to the notion of generic canons of film as determined by both popular and academic film critics and draws attention to the fractured nature of genre as a method of positioning and critiquing film texts. In this, an interdisciplinary approach, drawing on the methods of cultural-historical and psycho-analytical critiques of horror film, is appraised and then applied to the texts under discussion. The first chapter positions a working thematic and visual deconstruction of the Zombie as an embodiment of the abject, positioning it as a result of changing cultural discussions in fiction on the nature of death and burial. This establishes a thematic framework to apply throughout the following chapters, noting alterations to representations. The second chapter offers a historicised account of appearances of the fictional Zombie before American cinematic productions of the 1930s, critiquing claims that this is the only original production context for the Zombie. The third chapter charts the changing production contexts of American Zombie film until the mid 1960s, to introduce the critiques of authorial importance placed upon the works of George A. Romero, which are discussed in Chapter 4. This critique in turn questions established notions of generic canon and international influence, which are discussed in Chapters 5 and 6. These chapters question the idea of American filmic product dominance in national contexts, charting the discussions of the Zombie body found in differing national cinemas. It is shown that dialogues of representation can be both nationally specific and meant for global audiences, brought about by the changing production and exhibition markets of the 1970s onwards. This in turn challenges the idea that the American model is the dominant representation in the contemporary Zombie film, discussed in Chapter 7. The thesis therefore charts three separate areas for discussion, that of historical, cultural and production contexts that can be held accountable for changing cinematic representations. Particular attention is placed on the thematic and visual use of the Zombie within differing media and firmly position cinematic representations as indicative of wider changes in popular media and their intended audiences. The thesis therefore offers a detailed historical and cultural taxonomy of Zombie film, furthering previous studies, but also presents a more detailed exploration of cultural contexts than previous critics have attempted.
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Nordström, Henrik, and Ola Larsson. ""Är man så gammal är man en Zombie"." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32184.

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Syftet med studien är att jämföra hur populärkulturen kommer till uttryck i barns lek samt få en insyn i hur pedagoger reflekterar kring populärkulturen i Reggio Emilia respektive Waldorfförskolor. Vi har sedan brutit ner syftet i två frågeställningar: Hur kommer barns intresse för populärkultur till uttryck i leken på förskolan? Hur ser pedagoger inom förskolan på populärkultur? Vår teoretiska ansats bygger på Säljös sociokulturella teori och Vygotskijs fantasiteori. Vi har använt oss av kvalitativ metod med deltagande observationer och kvalitativa intervjuer som insamlingsmetod. Resultatet av vår studie visar att barnen inom Waldorf och Reggio Emilia uttrycker populärkulturen på liknande sätt med hjälp av erfarenheter från TV och film. Resultatet visar även att pedagogerna inom Reggio Emilia och Waldorf har liknande syn på populärkulturen, pedagogerna är förhållandevis negativa till populärkulturella inslag på förskolan.
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Baird, David. "Zeitgeist incarnate : a theological interpretation of postapocalyptic zombie fiction." Thesis, University of St Andrews, 2019. http://hdl.handle.net/10023/16978.

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This thesis attempts to take seriously the claims made by many postapocalyptic zombie narratives to represent the world as it truly is, analyzing and then assessing the theological value of their depictions of the human predicament. The approach is both formal and what Gary Wolfe calls transmedial, examining the recurring narrative structures and themes of texts across several media and eras as part of 'a popular aesthetic movement and not just a body of works of fiction on similar themes', with special attention given to the films and television of the new millennium. The aim is twofold: to extend the relevance of postapocalyptic zombie fictions beyond the relatively narrow vogue of a cultural moment, and to prompt a richer appreciation of the significance of the Christian faith within contemporary society. To this end, Chapter One contextualizes the complexity of these texts' relationship to Christianity by examining first the most prominent obstacles and then the implicit promise of these texts for theological reflection. It places special emphasis on the interior tension in many of these fictions between, on the one hand, aggressively emphasizing the apparent absence of the supernatural, while on the other, frequently claiming to disclose a dimension of human experience in excess of what can be ordinarily perceived by the senses. Chapters Two and Three extend this analysis to the complex content of what these stories depict. Chapter Two considers the multilayered symbolism of decline in their conspicuous spectacles of disaster, disintegration, and death. Chapter Three examines the countervailing symbolic motifs of residual integrity and regeneration that are exhibited most prominently by characters who attempt to live genuinely human lives in spite of these circumstances. The first half of the thesis concludes by proposing a composite postapocalyptic view of the human predicament, which represents the world as ambiguous, dramatic and quite possibly, although not certainly, absurd. Chapter Four begins the theological reflection upon this kind of postapocalyptic perspective, proposing how such depictions might be illuminated by Christian theological descriptions, particularly the absurd existential circumstances brought about by the original sin. Chapter Five, reciprocally, suggests some of the ways the dramatic images of these texts might enrich theological reflection by eliciting fresh insights into the significance of the central mysteries of Christianity, especially the paradoxical already-and-not-yet of eschatological expectation. The thesis concludes by offering a final evaluation of whether, all told, the world can be truly considered postapocalyptic from a Christian perspective, arguing that although there are significant differences, postapocalyptic fictions and Christianity put forward strikingly similar pictures of the deeply self-conflicted circumstances of the common human predicament.
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Books on the topic "Zombi"

1

Evsevʹev, Vladimir. Zombi. "Sov. kompozitor", Leningradskoe otd-nie, 1991.

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Gonzalo, Jorge Fernández. Filosofía zombi. Editorial Anagrama, 2011.

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Yo, zombi. Ed. Salto de Página, 2014.

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Gerasimov, Bogomil. Operat͡s︡ii͡a︡ "Zombi". Voen. izd-vo, 1987.

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Oriol, Hernández, ed. El zombi. Algar Editorial, 2010.

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Filosofía zombi. Editorial Anagrama, 2011.

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Zombi blues. La Courte échelle, 1996.

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Oates, Joyce Carol. Zombi: Roman. Librairie générale française, 2014.

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Zombi la mouche. Éd. Baleine, 1998.

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La novela zombi. Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, 2014.

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Book chapters on the topic "Zombi"

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Sastry, K. Subramanya, Bikash Mandal, John Hammond, S. W. Scott, and R. W. Briddon. "Vigna vexillata (Zombi pea)." In Encyclopedia of Plant Viruses and Viroids. Springer India, 2019. http://dx.doi.org/10.1007/978-81-322-3912-3_1003.

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May, Michael. "Das Projekt einer kritischen Theorie Sozialer Arbeit – ein Zombi?" In Theorien der Sozialpädagogik – ein Theorie-Dilemma? VS Verlag für Sozialwissenschaften, 2009. http://dx.doi.org/10.1007/978-3-531-91970-6_9.

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McKenna, Mark. "‘What film is your film like’? Negotiating authenticity in the distributive seriality of the Zombi franchise." In Horror Franchise Cinema. Routledge, 2021. http://dx.doi.org/10.4324/9780429060830-8.

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Otto, Melanie. "“That Misty Zone Which Divides Life from Death”: The Concept of the Zombi in Jean Rhys’s Short Fiction." In Rhys Matters. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137320940_8.

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Mattes, Claudio. "Zombie." In Metzler Lexikon Religion. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03704-6_205.

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Mattes, Claudio. "Zombie." In Metzler Lexikon Religion. J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00091-0_597.

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Heise-von der Lippe, Anya. "Zombie Fictions." In The Palgrave Handbook to Horror Literature. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_17.

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Gullion, Jessica Smartt. "Zombie Categories." In Diffractive Ethnography. Routledge, 2018. http://dx.doi.org/10.4324/9781351044998-8.

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Toivanen, Anna-Leena. "Zombie travels." In Cultural Mobilities Between Africa and the Caribbean. Routledge, 2021. http://dx.doi.org/10.4324/9781003152248-8.

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Payne, Christopher, and Andrew Kjos. "Advanced Zombie." In A Beginner’s Guide to Special Makeup Effects. Routledge, 2021. http://dx.doi.org/10.4324/9781003093701-30.

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Conference papers on the topic "Zombi"

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Vidal Meló, Anna, and Vicente D. Estruch Fuster. "El estudio de aplicaciones de los sistemas de ecuaciones diferenciales ordinarias a través de artículos científicos." In INNODOCT 2019. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10150.

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En el estudio de las Ecuaciones Diferenciales Ordinarias, y sistemas de estas, es importante la aplicación a casos reales a través de la modelización matemática. En la bibliografía existen muchas referencias a diversas aplicaciones clásicas: desintegración radiactiva, modelos de población depredador-presa, poblaciones de Lotka-Volterra o epidemias modelos SIR. En este trabajo mostramos cómo se ha ampliado el estudio de estas aplicaciones a través del manejo de artículos científicos disponibles en la red, en una asignatura optativa del Grado en Ingeniería de Sistemas de Telecomunicación, Sonido e Imagen en la EPSG, en una de sus unidades didácticas referida al estudio de las ecuaciones y sistemas de ecuaciones diferenciales. Nuestro alumnado ha trabajado con artículos científicos explorando otras aplicaciones o generalizaciones de las analizadas en clase: modelos matemáticos sobre las consecuencias de la vacunación, modelización y simulación del comportamiento epidemiológico de la gripe, una invasión zombi, modelado de la propagación de malware en redes de sensores inalámbricos, de ordenadores o en teléfonos móviles. Describiremos la metodología seguida, el trabajo realizado por el alumnado y su opinión.
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Verrondel, Marion. "ZombiU." In ACM SIGGRAPH 2013 Computer Animation Festival. ACM Press, 2013. http://dx.doi.org/10.1145/2503541.2503638.

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Elkins, Kel, Ed Mackey, Ed Gee, and Josh Reicher. "Zombie Satellites." In ACM SIGGRAPH 2011 Dailies. ACM Press, 2011. http://dx.doi.org/10.1145/2047493.2047502.

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Black, Alan, Christopher Mascaro, Michael Gallagher, and Sean P. Goggins. "Twitter zombie." In the 17th ACM international conference. ACM Press, 2012. http://dx.doi.org/10.1145/2389176.2389211.

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Colbert, Fred. "The zombie thermographer apocalypse preparedness 101: zombie thermographer pandemic." In SPIE Defense, Security, and Sensing, edited by Gregory R. Stockton and Fred P. Colbert. SPIE, 2013. http://dx.doi.org/10.1117/12.2019121.

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Inácio, Pedro R. M., João V. P. Gomes, Mário M. Freire, Manuela Pereira, and Paulo P. Monteiro. "Zombie Identification Port." In 2008 The Third International Conference on Internet Monitoring and Protection. IEEE, 2008. http://dx.doi.org/10.1109/icimp.2008.10.

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Elinav, Yael, Alex Moshinky, Lior Siag, and Nezer Zaidenberg. "HERO vs. Zombie: Identifying Zombie Guests in a Virtual Machine Environment." In 9th International Conference on Model-Driven Engineering and Software Development. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010261802400245.

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Hyrynsalmi, Sami, and Sonja M. Hyrynsalmi. "Ecosystem: A Zombie Category?" In 2019 IEEE International Conference on Engineering, Technology and Innovation (ICE/ITMC). IEEE, 2019. http://dx.doi.org/10.1109/ice.2019.8792658.

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Chen, Zijiong. "Research on Zombie Enterprise." In 1st International Symposium on Innovative Management and Economics (ISIME 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/aebmr.k.210803.002.

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Zaytsev, Pavel. "Modernism, Publicness, Zombification: Gestalt of "Worker" by E. Junger, And Phenomena of Contemporary Exploitative Culture." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-17.

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The need for researching into ideological sources of contemporary exploitative culture is necessitated by both the outer edge of its interaction with other triggers of modernity, and the inner edge consisting in the answer to the following question: ‘what is an exploitative culture?’. The modernism era gave rise not only to global mass culture, but diverse oppositions of ‘privacy’ and ‘publicity’ categories in their key anthropological images. It seems to us to be no coincidence that exploitative culture is presented by researchers primarily in the anthropological dimension of race and sex. While considering the heroic characters proposed to be scaled for the era of modernism, it is necessary to account for the invariative content, which was reflected in gestalt of the ‘worker’ by E. Junger, and its particular historical variations. We pay our attention to the pedagogical system suggested by A. Makarenko, and the system of fostering actors of the future by V. Meyerhold as projects of the taylorisation of school and theater. The contemporary culture which, as a result of racial protests in the USA, has tended to be attributed with the predicate ‘exploitative’ reveals the exploitative meanings of the worker’s gestalt in the image of the zombie and the phenomenon of zombification associated with it. As a result of this study, conclusions were drawn regarding the continuity of the anonymous image of the ‘worker’ E. Junger and the film image of the zombie as one of modern culture’s most demanded anonymous generalised characters of the masses. Their affinity is as follows: the ‘worker’ of E. Junger is not a social, much less an economic category, it is the most common anthropological metaphore of ‘generic attributes’ to characterise the modernism era, like a zombie character in contemporary mass culture. However, if gestalt of ‘worker’ by E. Junger means the totality of creation of a new world, then the zombie character in contemporary mass culture is associated with the totality of devastation.
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Reports on the topic "Zombi"

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Acharya, Viral, Simone Lenzu, and Olivier Wang. Zombie Lending and Policy Traps. National Bureau of Economic Research, 2021. http://dx.doi.org/10.3386/w29606.

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Caballero, Ricardo, Takeo Hoshi, and Anil Kashyap. Zombie Lending and Depressed Restructuring in Japan. National Bureau of Economic Research, 2006. http://dx.doi.org/10.3386/w12129.

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Acharya, Viral, Matteo Crosignani, Tim Eisert, and Sascha Steffen. Zombie Lending: Theoretical, International and Historical Perspectives. National Bureau of Economic Research, 2022. http://dx.doi.org/10.3386/w29904.

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Charissa de Bekker, Charissa de Bekker. How does a parasite create zombie-like behavior? Experiment, 2013. http://dx.doi.org/10.18258/1490.

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Acharya, Viral, Matteo Crosignani, Tim Eisert, and Christian Eufinger. Zombie Credit and (Dis-)Inflation: Evidence from Europe. National Bureau of Economic Research, 2020. http://dx.doi.org/10.3386/w27158.

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Colpan, Asli, and Randall Morck. Business Groups: Panics, Runs, Organ Banks and Zombie Firms. National Bureau of Economic Research, 2021. http://dx.doi.org/10.3386/w29035.

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Chari, Anusha, Lakshita Jain, and Nirupama Kulkarni. The Unholy Trinity: Regulatory Forbearance, Stressed Banks and Zombie Firms. National Bureau of Economic Research, 2021. http://dx.doi.org/10.3386/w28435.

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Dukarski, Jennifer. Unsettled Legal Issues Facing Data in Autonomous, Connected, Electric, and Shared Vehicles. SAE International, 2021. http://dx.doi.org/10.4271/epr2021019.

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Modern automobiles collect around 25 gigabytes of data per hour and autonomous vehicles are expected to generate more than 100 times that number. In comparison, the Apollo Guidance Computer assisting in the moon launches had only a 32-kilobtye hard disk. Without question, the breadth of in-vehicle data has opened new possibilities and challenges. The potential for accessing this data has led many entrepreneurs to claim that data is more valuable than even the vehicle itself. These intrepid data-miners seek to explore business opportunities in predictive maintenance, pay-as-you-drive features, and infrastructure services. Yet, the use of data comes with inherent challenges: accessibility, ownership, security, and privacy. Unsettled Legal Issues Facing Data in Autonomous, Connected, Electric, and Shared Vehicles examines some of the pressing questions on the minds of both industry and consumers. Who owns the data and how can it be used? What are the regulatory regimes that impact vehicular data use? Is the US close to harmonizing with other nations in the automotive data privacy? And will the risks of hackers lead to the “zombie car apocalypse” or to another avenue for ransomware? This report explores a number of these legal challenges and the unsettled aspects that arise in the world of automotive data
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