TITLE: The etymological analysis of colour names and related idioms AUTHOR: Anna Hořejší DEPARTMENT: Department of the French language and literature SUPERVISOR: Mgr. Jiří Jančík ABSTRACT: This diploma thesis concerns the etymological analyses of colour names in the French language and related idioms. In the theoretical part we present the basic linguistic terminology necessary for the accomplishment of the etymological analyses; the practical part concerns the analyses itself. The objective of the thesis is to deeply analyze the six basic colours both from the etymological and symbolic point of view. Furthermore, the thesis concerns the etymological analyses of colours the names of which are to some extend specific and remarkable. We talk about colours like: fox tail, bonbon, the Berlin blue, tea, khaki, pearl or snow, divided into groups according to the word they contain (colours containing a name of an animal, food, liquid, material, the place of origin, etc.). These colours are examined not only etymologically; we are also interested in the reason for which they are called so. In the last part of the thesis we scrutinize also idioms containing a name of a colour; we talk about idioms like white night, yellow danger, to be bad like a red donkey, cordon bleu or green tongue. In this case, our goal is to...

The human visual system gathers information about three-dimensional object shape from a wide range of sources. How effectively we can use these sources, and how they are combined to form a consistent and accurate percept of the 3D world is the focus of much research. In complex scenes inter-reflections of light between surfaces (mutual illumination) can occur, creating chromatic illumination gradients. These gradients provide a source of information about 3D object shape, but little research has been conducted into the capabilities of the visual system to use such information. The experiments described here were conducted with the aim of understanding the influence of chromatic gradients from mutual illumination on 3D shape perception. Psychophysical experiments are described that were designed to investigate: If the human visual system takes account of mutual illumination when estimating 3D object shape, and how this might occur; How colour shading cues are integrated with other shape cues; The relative influence on 3D shape perception of achromatic (luminance) shading and chromatic shading from mutual illumination. In addition, one chapter explores a selection of mathematical models of cue integration and their applicability in this case. The results of the experiments suggest that the human visual system is able to quickly assess and take account of colour mutual illuminations when estimating 3D object shape, and use chromatic gradients as an independent and effective cue. Finally, mathematical modelling reveals that the chromatic gradient cue is likely integrated with other shape cues in a way that is close to statistically optimal.

The small island of St Barthélemy was a Swedish colony 1784–1878 and saw its greatest population growth and trade during the turn of the nineteenth century. This was because of Gustavia, the Swedish founded free port, which attracted mariners from the Caribbean, North America and Europe. Their goal was to become Swedish subjects, as Swedish neutrality provided a benefit during the various wars at this time between France, Great Britain and the United States. As these mariners changed their national allegiance from their country of origin to Sweden, questions about their political rights emerged. The makeup, as well as the role, of the local council became a contested issue between native and naturalized Swedes. This conflict, as well as many other local and global issues, was discussed in various mediums. I have examined petitions, the newspaper The Report of Saint Bartholomew and discussions within the council, to create an understanding of how political expression was formed by the population, as well as controlled by Swedish administrators. This analysis has been performed through an intersectional framework considering gender, race and ethnicity. My study shows that while most native and naturalized Swedes believed in input from the population, they had different perceptions of what the purpose of this input was. The Swedish administration saw the political participation of the naturalized population as purely advisory, without any obligation to perform its wishes, which the population resented and protested. Gender played a significant role in the formation of political expression, as masculinity was essential to the identity of white men and free men of colour as political subjects. Yet ethnicity, in terms of place of birth, had no significant impact among the free population’s political identity, although it did render them politically unreliable in the eye of native Swedish administration.

Thesis (M.Fine Arts)--University of the Witwatersrand, Faculty of Humanities, School of Arts, 2016. / This paper will be an analysis of the covers and contents of the South African editions of Glamour magazine from September 2014 to August 2015 and True Love magazine from September 2014 to August 2015. The analysis will consider the effects of: globalisation; globalised culture and consumption; and perceptions of race and skin colour, (specifically the notion of colourism) in South Africa. Colourism is a prejudicial system that renders value and perpetuates social hierarchies along perceived tonal difference in skin colour. It has been asserted by writers like Deborah Gabriel and Nicole Fleetwood that this value system exists within communities of people of colour and is perpetuated by mainstream media, but maintains a somewhat obscure presence. I will consider the mechanisms that inform this colour system and will show how globalisation works to facilitate colourism. Finally, I aim to explain how skin colour extends beyond the body and define the effects of global cultural interaction, showing that colourism is not simply about skin colour and tone, but about economic, social, and political realities. / MT2017

No campo das Novas Tecnologias da Comunicação (NTC) se destacam determinadas obras que se caracterizam pela manipulação da cor materializada por fontes luminosas que, articulada poeticamente pelo artista, pode potencializar o diálogo entre obra e receptor. Esta dissertação pretende investigar o modo como a cor, proveniente de fonte luminosa, ao ser manipulada pelo artista, por meio de dispositivos tecnológicos das NTC, pode promover em sua obra um ambiente de sinergia e troca de informações com o receptor. Para contribuir com a compreensão do tema de modo eficaz serão abordados não somente os aspectos de ordem fisiológica, física, psíquica e cultural da cor, mas também, os seus aspectos históricos, investigando-se assim um cenário que propiciou o encontro entre a cor e a tecnologia, tornando compreensível a passagem gradual do uso da cor do objeto para a cor, como fonte de luz na arte. Serão abordados também os conceitos de obra aberta e interatividade nas NTC e sua relação com a cor como fonte luminosa. Uma vez clarificados os conceitos de cor, luz e obra aberta, serão realizadas leituras em obras visando identificar as várias formas como a cor proveniente de fonte luminosa pode ser manipulada pelo artista, tendo em vista a função da cor como peça fundamental e ativa no diálogo entre o receptor e obra. Espera-se que, com base em determinados conceitos, seja possível apreender como o artista utilizou poeticamente a cor como fonte de luz em instalações interativas produzidas pelas NTC visando seduzir o receptor para uma relação de troca com a obra. / In the field of New Technologies of Communication (NTC) some artworks stand out because of their characteristic way of handling materialized color by light sources. Such light sources are poetically articulated by the artist, and they can enhance the dialogue between artwork and receiver. The aim of this dissertation is to investigate how the light-sourced color manipulated by the artist using NTC technological devices can promote an environment of synergy and exchange of information with the receiver. To understand this issue in an effective way, both the physiological, physical, psychological and cultural aspects of the color and its historical aspects are dealt with, thus investigating a scenery that allowed the meeting between color and technology, which made it understandable the gradual shift from the use of the color in a object to the color as a source of light in art. The concepts of open work and interactivity in the NTC and its relation to color as a light source are also discussed. Once the concepts of color, light and open work are set, some artworks are analyzed in order to identify the several ways color from a light source can be manipulated by the artist, considering its active and fundamental role in the dialogue between receiver and artwork. Based on certain concepts, it is expected to be possible to apprehend how the artist used color poetically as a light source in interactive installations produced by NTC in order to seduce the receiver into an exchange relationship with the artwork.

As manifestações culturais e artísticas surgiram no setor têxtil ainda nos primórdios da humanidade, utilizando-se, desde então, de pigmentos vegetais, e criando uma verdadeira aliança entre o ser humano, a natureza e o mundo do desenho. A moda retrata aspectos do vestuário desde o início da história do homem até a atualidade, relatando a estreita ligação com as tendências globalizadas. A moda, enquanto conseqüência do mundo econômico, reflete os acontecimentos sociais, culturais, políticos, econômicos e ambientais. O presente estudo visa a introduzir os conceitos estruturais a respeito da cor, desde a sua definição até a ilustração dos ícones aos quais está associada. Introduz ainda a estamparia, que é das mais exigentes técnicas têxteis, e também a que mais se aproxima da Arte, indicando sua origem, fontes de inspiração, os diversos processos de fabricação e sua aplicação, desde os processos manuais até os digitais. Esta pesquisa versa sobre a importante e estratégica etapa de Pesquisa de Tendências, através de várias fontes, principalmente a Internet, a seleção de produtos junto aos vários profissionais, e, finalmente, o desenvolvimento de produtos têxteis nas fábricas, a necessidade de utilização de todo o maquinário disponível na tecelagem, na tinturaria e na estamparia. / Cultural and artistic demonstrations started in the textile sector at the very beginning of humankind, creating a alliance between the human being, nature and the world of design. They outline fashion and have displayed features of clothing since the early ages, telling the strong connection with world trends. Fashion is a reflexion of social, political, economical (and currently environmental) events, as a consequence of the economic world. The present research aims to introduce the structural concepts of color, from its definition to the illustration of the icons to which it is associated. It also introduces prints, which is one of the most demanding textile techniques, and is also the closest to art, demonstrating sources of inspiration, several manufacturing processes and applications, from manual to technological processes. It shows the import and strategic stage of trends research, from several sources, mainly by internet; the selection of products along several professionals and, finally the development of textile products in the factories a requirement of the use of all available machinery weaving as well as coloring and printing.

No campo das Novas Tecnologias da Comunicação (NTC) se destacam determinadas obras que se caracterizam pela manipulação da cor materializada por fontes luminosas que, articulada poeticamente pelo artista, pode potencializar o diálogo entre obra e receptor. Esta dissertação pretende investigar o modo como a cor, proveniente de fonte luminosa, ao ser manipulada pelo artista, por meio de dispositivos tecnológicos das NTC, pode promover em sua obra um ambiente de sinergia e troca de informações com o receptor. Para contribuir com a compreensão do tema de modo eficaz serão abordados não somente os aspectos de ordem fisiológica, física, psíquica e cultural da cor, mas também, os seus aspectos históricos, investigando-se assim um cenário que propiciou o encontro entre a cor e a tecnologia, tornando compreensível a passagem gradual do uso da cor do objeto para a cor, como fonte de luz na arte. Serão abordados também os conceitos de obra aberta e interatividade nas NTC e sua relação com a cor como fonte luminosa. Uma vez clarificados os conceitos de cor, luz e obra aberta, serão realizadas leituras em obras visando identificar as várias formas como a cor proveniente de fonte luminosa pode ser manipulada pelo artista, tendo em vista a função da cor como peça fundamental e ativa no diálogo entre o receptor e obra. Espera-se que, com base em determinados conceitos, seja possível apreender como o artista utilizou poeticamente a cor como fonte de luz em instalações interativas produzidas pelas NTC visando seduzir o receptor para uma relação de troca com a obra. / In the field of New Technologies of Communication (NTC) some artworks stand out because of their characteristic way of handling materialized color by light sources. Such light sources are poetically articulated by the artist, and they can enhance the dialogue between artwork and receiver. The aim of this dissertation is to investigate how the light-sourced color manipulated by the artist using NTC technological devices can promote an environment of synergy and exchange of information with the receiver. To understand this issue in an effective way, both the physiological, physical, psychological and cultural aspects of the color and its historical aspects are dealt with, thus investigating a scenery that allowed the meeting between color and technology, which made it understandable the gradual shift from the use of the color in a object to the color as a source of light in art. The concepts of open work and interactivity in the NTC and its relation to color as a light source are also discussed. Once the concepts of color, light and open work are set, some artworks are analyzed in order to identify the several ways color from a light source can be manipulated by the artist, considering its active and fundamental role in the dialogue between receiver and artwork. Based on certain concepts, it is expected to be possible to apprehend how the artist used color poetically as a light source in interactive installations produced by NTC in order to seduce the receiver into an exchange relationship with the artwork.

Increased near infrared (NIR) reflection, closely resembling the red edge found in leaves, has been known in frogs for many years. Whereas previously thought of as an isolated rarity, we have shown that it is likely far more prevalent than previously believed, occurring in multiple distinct family groups and world regions. To date, there are now 26 anuran species known to demonstrate increased NIR reflectance, from 12 different genera, 4 families, and 3 ecozones. The visible/NIR reflection spectra of each individual measured was found to be characteristic of its species; whether it was wild or captive bred; and its sex. A machine learning based classification system was demonstrated as a viable method of identifying these properties from a frog's reflection spectra alone. How this reflection spectra developed from a pre-metamorphosis froglet through to adult frog was tracked, with the gradual changes to the reflection spectra of both NIR reflective and other frogs identified as being most likely dominated by the reduction in epidermal melanophores, and the increasing number of dermal iridophores. A modified consumer camera was shown to be a viable method for rapid identification of increased NIR reflection in anurans, and was used to identify that salamanders also show variation in NIR reflection between ground dwelling and leaf sitting species. The overnight colour change in Hylomantis lemur was observed, and found to occur pre-emptively of the frog's future location; with the frogs regularly transitioning from pale green ‘daytime' colouration, to the dark brown ‘night time' colouration, while still on the green leaf surface before becoming active, and undertaking the reverse transition while still active, but shortly before returning to the leaf. It seems likely that this change is for protection from silhouetting whilst active. Optical coherence tomography images were taken of several species of frog, and found to be a viable method for non-invasive investigation of anuran skin structure, with structural differences observed between the two colourations of H. lemur. It was found that the most likely cause of the increased NIR reflection in frogs is a reduction in melanin, either by absence or substitution with pterorhodin. Although the true benefit to the frog is difficult to determine, it seems likely that cryptic thermoregulation plays a key role: the maintenance of body temperature for the purpose of camouflage from animals capable of far-infrared vision. This thesis demonstrates the legitimacy of several techniques and approaches for non-invasive study of anurans, but the ultimate scope of the project is fundamentally limited by the range of frogs available. Further insight is likely to arise from increasing this scope, applying these techniques to more frogs, from more species, in more regions, and the author wishes all future researchers the greatest success in this endeavour.

In this thesis, the search for the production of the Higgs boson in associationwith two top quarks is presented. The main focus of this work is on the analysis optimised for the decay of the Higgs boson to a b-quark pair. The analysis is performed using 36.1 fb−1 of ppcollision data at a centre of mass energy sqrt(s)=13 TeV collected by the ATLAS detector at the Large Hadron Collider during 2015 and 2016. The signal strength of ttH in relation to the Standard Model prediction for a Higgs boson with a mass of 125 GeV is measured to be mu(ttH) = 0.87 +0.64−0.61, with signal strengths greater than 2.0 excluded at the 95% confidence level. The combination of this analysis with searches targeting additional Higgs boson decay modes is subsequently presented. The measured signal strength in relation to the Standard Model prediction is mu(ttH) = 1.2 +/-0.3. This correspondsto an observed (expected) significance for ttH of 4.2sigma (3.8sigma), constituting evidence for the ttH production mode. Finally, a study into the ability to observe and model the colour connection of b-quarks in ttH(bb) and ttbar+jets events is presented. The jet pull angle observable is used to investigate the effect of colour connection on jet substructure. Such an observable is found to be sensitive to the underlying colour structure in events, showing differences between b-quarks which decay from a colour singlet in comparison to a colour octet. However, the effect is found to be small and a larger dataset is required to measure the effect in ttH events.

The surface and structural change of human hair fibre have been analysed to determine the oxidation effects for bleached hairs. Three types of bleached hairs (6% H2O2 bleach, 9% H2O2 commercial bleach and commercial persulphate bleach (contains 9% H2O2)) as well as virgin hair were evaluated with the increasing treatment time using Scanning Electron Microscopy (SEM), Reflective Spectrophotometry, Differential Scanning Calorimetry (DSC) and Fourier Transform Infrared (FTIR) Spectroscopy. It is obvious that longer treatment times result in the greater surface and structural damage. However, commercial persulphate bleach causes less surface damage for the cuticle. 6% H202 bleach has overall moderate damage effects on both cuticle and cortex over the treatment time. 9% H2O2 commercial bleach indicates two different damage stages. The first 1.5h bleached hairs show mild oxidation to the surface, whereas the damage becomes heavy after 2h. This phenomenon results in that 9% H2O2 commercial bleach has a more intensive oxidation damage in the cortex than the commercial persulphate bleach. This is in line with DSC investigation which shows that the intermediate filament of 9% H2O2 commercial bleach is heavily damaged after the extensive oxidation time (greater than or equal to2h). Although commercial persulphate bleach contains the stronger oxidising agent, it has a less surface damage than 9% H2O2 commercial bleached hair in FTIR-ATR measurement, and a similar oxidation effect on the matrix as 6% H202 bleached hair in FTIR transmission investigation. In addition, it has been verified by colour measurements that bleached hairs have an overall lighter, yellowish and reddish colour. Consequently, commercial persulphate bleached hair is much lighter and more yellow than 9% H2O2 commercial bleached hair and 6% H202 bleached hair. DSC investigations reveal that the three bleaches have a homogenous oxidation effect on IFs and IFAPs. The deconvolution results using three Gaussian distributions confirm this observation. The stronger bleach results in a homogenous structural damage on both para- and ortho-cortex with increasing bleaching time. Commercial persulphate bleach and 9% H2O2 commercial bleach have a progressive damage effect on the ortho- and para- cortex than 6% H202 bleach. Kinetics analysis is conducted for the virgin and bleached hairs by using various heating rates according to ASTM-E698. The activation energies of 260 kJ/mol for the virgin hair and 295 kJ/mol for the commercial persulphate bleached hair (2h) are determined from the slope of the regression line of peak temperature, TD (as 1/TD) and heating rate, β (as lnβ) on the basis of the Arrhenius-equation. The predominant structural damage for various heating rates only occurs in the IF. It is shown that a linear increase in DeltaHD occurs for lower heating rates, while it is constant for higher heating rates. This can be ascribed to the hypothesis that a lower heating rate favours a crystal transformation change (alpha-β transformation), while a higher rate favours a crystalline-amorphous transformation. SEM examines the morphological changes of hair samples after DSC. The cortex has been dissolved at the lower heating rate. The commercial persulphate bleached hairs (2h) show an overall shrunk cuticle surface and fewer and smaller hydrolysed protein granules, due to the previous damage of the alpha-helix in the cortical cell.