Closure is one of the most important putative goals for highly structured Renaissance verse. Elements of structure—for example, sophisticated prosody or the embedding of a poem within a web of intertextual relationships—determine how poets work toward closure. This project explores how verse forms and genre manifest poets’ attempts to create resolution, and, significantly, how often the challenges of the process instead become the object of focus. Developing a New Formalist approach that focuses on how literary forms are inherently responsive (both to the social conventions that inform various genres and to the expressive goals of individual authors), I examine texts in four important Renaissance poetic genres: epyllion (William Shakespeare’s Venus and Adonis [1593]), satire (Joseph Hall’s Virgidemiae [1598, 1599]), religious lyric (George Herbert’s The Temple [1633]), and pastoral elegy (John Milton’s Epitaphium Damonis [1639] and Lycidas [1637, 1645]). These works illuminate some of the most significant strategies of authors who often meditate on the appeal of definitive, resolved conclusions and also on the complex ways their works become conditioned by the hope and struggle for resolution.

Adaptioner av romaner är idag mer förekommande än tidigare och efterfrågan på adaptioner av romaner som ännu inte har filmatiserats är större än någonsin. En vanlig fråga som ställs när det gäller adaptioner är hur väl filmatiseringen följer originalmaterialet. Denna fråga har diskuterats djupgående bland romanläsare och filmtittare samt kritiker och forskare ända sedan Shakespears tid. Mycket av den här kritiken och diskussionen fokuserar på hur väl adapterad filmen är efter romanen, att vissa element saknas eller att dessa element är mycket sämre än vad de är i romanen. Jag anser att denna syn på adaption är alldeles för ytlig. Whelehan, Cartmell (1999) och Sanders (2006) analyserar om hur adaption har använts i bl.a. film och text. De ger bilden av att adaption inte är ett ämne som talar om vad som är rätt eller fel, utan istället är en definitionsfråga av flera faktorer. I detta kandidatarbete har jag utfört en undersökning där jag hoppas kunna belysa problematiken som kan uppstå när en roman adapteras till en visuell gestaltning och på så sätt skapa förståelse för att adaptionsprocessen inte är så enkel som den ser ut att vara. I undersökningen adapteras The Wheel of Time: The Eye of the World till en framtidsmiljö, genom att hitta motsvarigheter mellan romanens värld och en framtidsmiljö och sedan skapa estetiska element utifrån romanens koncept av vad som anses vara trovärdigt. Resultatet är en serie konceptbilder som visar de element som har gestaltats från romanen. Jag finner att i slutändan är detta ett djupare ämne än vad jag först trodde att det var. Framtida undersökningar, där den som undersöker även har rollen som gestaltare, bör kompletteras med ytterligare en faktor, person. Detta är för att både utöka diskussionen, men framförallt för att observera och anteckna personen som både undersöker och gestaltar. / Novel adaptations have in the last half a century been more occuring than ever before. And novels that have yet not been adapted into film are more in demand than ever. A question often raised about adaptation, is whether how well it follows the original. Ever since Shakespear’s time, this question has frequently resulted in profound discussions by novelreaders and film viewers as well as critics and scholars. Usually the critique and discussions focus on whether how well the adaptation follows the original, some elements that is missing or how bad the adaptation is compared to the original. I think this view of adaptation is too superficial. Whelehan, Cartmell (1999) and Sanders (2006) have analyzed how adaptation has been used in film and text. They present adaptation as a subject that doesn’t tell right from wrong but instead is defined by several factors. In this bachelor thesis I have researched, I hope to illuminate the problems that can occur when a novel is adapted to a visual design and in so tell and understand that the adaptationprocess isn’t as simple as it seems. This thesis will adapt the novel The Wheel of Time: The Eye of the World into a futuristic environment, by finding counterparts between the world in the novel and a futuristic world. Then create aesthetic elements based on the novels’ concept of reality. The result is a series of conceptual images that shows the elements that have been designed from the novel. I found this research was more profound than I thought it was before. In future research, when the researcher also acts as the designer, I would recommend it to be accompanied by another person. This is for two reasons, first to widen the discussion range. Second, to observe and take notes of the person that acts both as the researcher and designer.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Le concept d’empowerment psychologique a émergé en marketing avec l’essor d’internet, pour désigner un sentiment d’émancipation du consommateur dans son processus de décision. Il soulève des questions importantes, sur une éventuelle perte d’influence du marketing ou sur la remise en cause du rôle prescripteur de la force de vente, notamment ; pourtant peu d’études empiriques ont à ce jour exploré le concept. Ces travaux contribuent à une meilleure compréhension des mécanismes et conséquences de l’empowerment psychologique du consommateur selon le contexte d’achat : les résultats d’études auprès de 1043 acheteurs de séjours touristiques permettent de conclure à un effet positif de l’empowerment psychologique sur la satisfaction du consommateur, à la fois envers sa décision d’achat et envers la marque auprès de laquelle l’achat a été effectué, principalement du fait d’un effet médiateur de l’appropriation psychologique de la décision. Cet effet positif perdure après l’étape de consommation et favorise indirectement l’intention de ré-achat. Plusieurs facteurs explicatifs de l’empowerment psychologique ont été identifiés, à la fois d’ordre individuel et contextuel, dont l’utilisation d’internet en préparation de l’achat. Les enseignements de cette recherche mettent en lumière le rôle positif de l’empowerment psychologique sur la satisfaction et la fidélité des acheteurs, et suggèrent de nouvelles pistes sur la relation entre le contexte/canal d’achat utilisé et la satisfaction du consommateur. Des préconisations sont formulées pour mieux prendre en compte l’évolution des attentes et comportements d’achat des consommateurs dans un contexte d’empowerment par internet. / The concept of consumer psychological empowerment has emerged in marketing with the rise of internet, to designate a feeling of emancipation in the decision making process. It raises important questions, among which the hypothetical loss of influence of marketing and the future role of vendors at traditional points of sale; yet very little empirical work has been made on the concept. This research contributes to a better understanding of the mechanism and consequences of consumer psychological empowerment in a purchase context, through several empirical studies among 1043 buyers of package travels in France. Our results show a positive effect of psychological empowerment on consumers’ satisfaction, both towards the purchase decision and towards the service provider, mainly due to the mediating effect of psychological ownership of the decision. Psychological empowerment also indirectly contributes to a higher re-purchase intent, after the consumption phase. Several antecedents have been identified, both individual and contextual ones, among which the use of internet in the purchase process. Our findings shed light on the positive effect of psychological empowerment on buyers’ satisfaction and loyalty, and suggest new routes on the relationship between the purchase context/channel and consumer satisfaction. Managerial implications are proposed, to help marketers better adapt to an empowering-by-the-internet environment.

The crime of embezzlement according to section 206 of Czech criminal code Abstract - Eng. This thesis interprets the crime of embezzlement according to section 206 of the Act nr. 40/2009 Coll., Criminal code, as amended, it interprets qualified facts of the crime which protects owners from breach of the trust they demonstrated for the benefit of a third person in order to enable disposition with their property. The demonstrated trust differs embezzlement from other crimes against property among which it belongs. The essential characteristic of the examined crime is entrustment which relating to the established practices of the Supreme Court means handover of the thing into factual control of the offender. The thing may be entrusted either by the owner, or by the other person who has the thing rightfully in own control. The offender becomes criminal liable when both breaching the given trust and appropriating the entrusted thing. The term appropriation, as the obligatory feature of embezzlement, is not defined by the Czech Criminal code, thus it is one of the essential topics of this thesis. The thesis is divided into nine chapters and these are further divided into sections. The essential chapter is the fourth one as it deals with the qualified facts of the crime. The basis for that chapter is the effective...

As a tactic of dissent and political protest, appropriation artists use commercial and government images to critique power, by subverting the intended message and displaying their critique in public spaces. Appropriation activists are revolutionary subjects, graphic agitators, and rebellious bricoleurs who engage in the tactics of guerrilla semiotics, `subvertising,' fauxvertising and culture jamming, to expose advertising imagery as a system of ideology that manufactures identity, sublimates desire, and naturalizes the construction of race, class, and gender. Their tactics also indicate the attempt to reclaim public space to address the privatization of culture and the unequal access to cultural resources. The use of images and tactics of appropriation creates a more diverse array of voices in the public sphere and opens spaces for active participatory engagement with the public to address systematic asymmetries of power. The appropriation tactics and images used by Barbara Kruger, Jenny Holzer, and the Guerrilla Girls in the late seventies and eighties, for example, addressed the normalizing representations of gender, sexuality and identity in advertising and the idealized promises of consumption. In the late 1980s and 1990s, the Billboard Liberation Front, Adbsuters, Robbie Conal, and Shepard Fairey engaged in ideological warfare over the right to own, access, produce and display appropriated images. From billboards intended for commercial advertising to the display of `subvertisements' in magazines, and the un-commercials to promote Buy Nothing Day and TV Turn off Week, these activists confront the prevailing cultural apparatuses of meaning and the political economic structures that enable their power. To capture the cynical trendsetting demographic more resistant to traditional advertising, advertisers have co-opted the imagery, style and tactics of these artists. Their tactical strikes and visual style now convey hip, new, edgy and cool brand identities. Their images have also been commodified as commercial products and institutionalized art and have become fashion. As appropriation artists and advertising agencies engage in the same tactics and use the same visual style, the lines between art, appropriation and advertising have blurred and the public sphere overcome with a pastiche of visual codes. The dissertation traces the tactics of appropriation of Barbara Kruger, The Billboard Liberation Front and Shepard Fairey as exemplars of transgression and commodification within the changing commercial conditions of neo-liberalism. Their works, tactics and strategies are emphasized as points of insight into the practices and conditions of subversion as well as the limits of hegemonic containment that reproduces the political and economic structure within which they operated. The dissertation furthers and contributes to the theoretical and methodology of critical cultural studies as it emphasizes the role of the economy and ideology in reproducing the prevailing hegemonic order. Critical cultural studies hinges on the concepts of hegemony as lived discursive and ideological struggles over meaning and communication resources within historically specific and socially structured contexts. This framework emphasizes the poetics of appropriation - the use, meaning and spaces of articulation of visual representations with the politics - the socio-economic and discursive conditions that reproduce the dominant social order.

Master of Visual Arts / We all play roles in life. This paper is a personal reflection on identity, and the questioning of this identity. The writer allows the reader into a dream like environment where a life role is acted out as autobiographical narrative through appropriation and reference to the other. Theoretical sources include Walter Benjamin, Roland Barthes, Jacques Lacan and Joseph Kosuth. With reference to these sources, comparison is made between Jan Vermeer’s seventeenth century portraits of women and Bertolt Brecht’s early twentieth century epic theatre.

This Masters of Landscape Architecture investigates the occurrence of small, temporary urban voids in inner northern Melbourne. The study asks whether these spaces operate as Public Domain (Hajer & Reijndorp 2001) and uses the concept of

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 37-38).

This area of research focuses on the use of video projections in the context of fine art. Emphasis is placed on creating a unique video installation work that incorporates assemblage and appropriation as a means to develop multiple complex geometrical surfaces for video projection. The purpose of this research is to document a working process within a pre-defined set of guidelines that is influenced from my past work and the study of other artist?s prior work. Research includes the demonstration of the entire working process to create this original work and recommendations for future artists who wish to work in this medium.