There is an inherent tension between a seller and a buyer as their relationship progresses towards closing the deal.The salesperson fears that the buyer wastes his time, which he could otherwise spend towards real potential buyers.The buyer questions the sincerity of the salesperson. Both evaluate the amount of trust and cooperation they should invest in the relationship. It is possible, after all, that the salesperson wants to take advantage of every weakness he detects in the buyer in order to guarantee the sale, and it is equally possible that the buyer tries to fool the salesperson, with false credit information for example. This thesis examines tensions that exist between salespeople and buyers by using an extended version of grounded theory, by which date is collected and analysed both qualitatively and quantitatively. It demonstrates that perceived predation reduces considerably the quality of the relationship.The thesis suggests that the phenomenon of predation exists in every sphere of human activity, including in the legal system.The PARDU Model ( pr edator-pr ey) initially developed to discuss the phenomenon of predation evolves, as the research progresses, towards the OPERA Model and the MESLYª grid, which offer pratical tools to better manage informational predation.

Résumé : II existe une tension inhérente au sein de la relation en cours de développement entre un vendeur et un acheteur. Le vendeur craint que l'acheteur lui fasse perdre son temps et l'acheteur, lui, doute de l'honnêteté du vendeur. Tous deux s'interrogent sur le niveau de confiance et de coopération à accorder à l'autre. Il est possible, après tout, que le vendeur soit à l'affût de la moindre faiblesse de l'acheteur pour profiter de la situation et s'enrichir à ses dépens, ou, vice-versa, que l'acheteur cherche à profiter du vendeur. La présente thèse examine les tensions entre vendeurs et acheteurs en ayant recours à la théorie enracinée élargie, qui comprend une série de boucles investigatrices formées de revues des écrits scientifiques et de cueillettes de données qualitatives et quantitatives. Elle cherche à démontrer que la prédation perçue (l'impression que l'autre abuse de nous de manière coordonnée) affecte négativement la bonne entente entre les parties prenantes de la transaction. La thèse suggère aussi que le phénomène de prédation existe dans toutes les sphères d'activités humaines, y compris dans le domaine juridique. Le modèle PARDU (prédateur-proie) initialement développé pour discuter du phénomène de prédation débouche, au fil de la recherche, sur le modèle OPERA et la grille MESLY®, qui offrent des applications pratiques pour mieux gérer la prédation informationnelle.||Abstract : There is an inherent tension between a seller and a buyer as their relationship progresses towards closing the deal. The salesperson fears that the buyer wastes his time, which he could otherwise spend towards real potential buyers. The buyer questions the sincerity of the salesperson. Both evaluate the amount of trust and coopération they should invest in the relationship. It is possible, after ail, that the salesperson wants to take advantage of every weakness he detects in the buyer in order to guarantee the sale, and it is equally possible that the buyer tries to fool the salesperson, with false credit information for example. This thesis examines tensions that exist between salespeople and buyers by using an extended version of grounded theory, by which date is collected and analysed both qualitatively and quantitatively. It demonstrates that perceived prédation reduces considerably the quality of the relationship. The thesis suggests that the phenomenon of prédation exists in every sphere of human activity, including in the légal system. The PARDU Model (predator-prey) initially developed to discuss the phenomenon of predation evolves, as the research progresses, towards the OPERA Model and the MESLY® grid, which offer pratical tools to better manage informational predation.

The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.

This thesis reconstructs the Prague premiere of the opera Tiefland by Eugen d'Albert and describes how this performance differed from earlier ones. The sources cited are original materials from the archives of the National Theatre including musical scores and references from the contemporary press. The thesis also provides an overview of opera premieres and the repertory of the Neues Deutsches Theater in the period 1888-1910 and details of d'Albert's visit to Prague before the time of the Tiefland premiere.

This thesis aimed to report on the qualitative research conducted which identified the role played by international television soap operas in identity formation and cultural change in relation to Kurdish women. Currently, Kurdish women live in a cultural context where traditional values often conflict with modern values when it comes to behaviour deemed appropriate for their gender. Through the impact of international television soap operas, Kurdish women come to identify themselves as being 'traditional' while at the same time they attempt to integrate non-traditional beliefs into their value system. This study looked at the relationship between Kurdish women's exposure to international television, soap operas and consumerism, as well as the problems which they create in terms of non-Western women's identity formation. This thesis has documented the lives and experiences of 21 female Kurdish participants, aged between 18 and 40, through in-depth interviews and observations. The thesis assumes that the views recorded are representative of the general viewpoint of viewers of the international soaps. Open-ended, in-depth interviews about women were used to explore viewing habits and preferences for various soaps. This thesis incorporates and expresses the ideas which were recorded with regards to the accepted 'typical' characteristics of men and 4 women - it is these characteristics which play an important role in selfformation. It became evident that these women had incorporated values from the traditional Kurdish culture and the modern way of life. The Kurdish women cannot be said to have a 'modernist' outlook on gender-appropriate behaviour, as they are still endemically entrenched in traditional Kurdistan worldviews. The qualitative research analysed the level in which the soap operas act as a kind of medium between the values of modernity and those of tradition. This study, in addition, demonstrates the appeal that soap operas can have on the norms, and other aspects, in the Kurdistan Region, and therefore illustrates that the soaps have an active role as a mechanism of change in Kurdistan. Thus, the research demonstrates the power of the soap operas and their effects on the Kurdish people in this region. Furthermore, this research explored the current media environment in the Kurdistan Region by reviewing the dependency of Kurdish viewers, and the Kurdish television channels, on foreign and imported television programmes into the region.

Made available in DSpace on 2016-04-26T18:15:09Z (GMT). No. of bitstreams: 1 Pablo Turbuk Garran.pdf: 395259 bytes, checksum: e891dc090de60881b352a8fbb3c747ab (MD5) Previous issue date: 2015-06-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aimed to analyze how the soap operas, as mass communication tools, operationalize and interfere in the constitution of society cultural repertoire, from the soap opera "Amor à Vida", displayed on Rede Globo Television in the period from 05/20/2013 to 01/31/2014. At the first stage we trace a brief history of soap opera as a language, its origins in literature and oral narrative and its interface with the cinema; in a second moment, we examine the role of the soap opera as mass diffuser vehicle, its contradictions and the soap opera as a product and in the third moment we discussed the use of image features such as communication strategies, approaching: photography, lighting, sets, costumes, makeup, camera angles, cuts, scenes duration, among other elements. We work with communication theories developed by Gabriel Tarde, as well as with other authors that contribute to the formulation of this analysis, as Propp. For the analysis of the soap opera, the work with documentary research was chosen because of the basis of this research occur from primary written sources, in other words, without analytic treatment, such as newspapers, magazines and websites / Essa pesquisa teve como objetivo analisar como as telenovelas, enquanto instrumentos de comunicação de massa, operacionalizam e interferem na constituição do repertório cultural da sociedade, a partir da telenovela Amor à Vida , exibida pela Rede Globo de Televisão no período de a 20/05/2013 a 31/01/2014. Num primeiro momento traçamos um breve histórico da novela enquanto linguagem, suas origens na literatura e na narrativa oral e sua interface com o cinema; num segundo, examinamos o papel da telenovela enquanto veículo difusor de massa, suas contradições e a telenovela enquanto produto e no terceiro momento tratamos do uso dos recursos de imagem como estratégias de comunicação, abordando: fotografia, iluminação, cenários, figurino, maquiagem, tomada de câmera, cortes, duração de cenas, entre outros elementos. Trabalhamos com as teorias de comunicação desenvolvidas por Gabriel Tarde, assim como com outros autores que contribuem para a formulação desta análise, como Propp. Para a análise da telenovela, o trabalho com pesquisa documental foi a opção em virtude da base desta investigação se dar a partir das fontes escritas primárias, ou seja, ainda sem tratamento analítico, como por exemplo jornais, revistas e sites

Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux reposent sur une étude des sept cas exemplaires. Les exemples choisis couvrent aussi bien le domaine des théâtres traditionnels en tant qu'institution que celui de la structure des collectifs. Il conviendra de montrer s'il existe un lien entre les libertés laissées par la politique culturelle et les innovations esthétiques, si l'on peut discerner des recoupements franco-allemands et si un intérêt pan-européen en matière de politique culturelle peut résider dans une reforme. / This research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts.

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux. / The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements.

L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento. Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana. Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole. Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana. / The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language. We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.

Στην παρουσα διπλωματική εργασιά μοντελοποιήθηκε και εξομοιώθηκε η λειτουργία ενός ηλεκτροκινητήριου συστήματος που αποτελείται από μία τριφασική ασύγχρονη μηχανή και έναν ηλεκτρονικό μετατροπέα ισχύος τοπολογίας “Matrix” με τη βοήθεια ηλεκτρονικού υπολογιστή, χρησιμοποιώντας το περιβάλλον Simulink του λογισμικού Matlab και το πρόγραμμα Vector Fields Opera που χρησιμοποιείται για ανάλυση με μέθοδο πεπερασμένων στοιχείων. Στόχος της διπλωματικής αυτής εργασίας ήταν η διερεύνηση και αξιοποίηση της δυνατότητας «συνεργασίας» μεταξύ των δύο αυτών προγραμμάτων. Συγκεκριμένα εξομοιώθηκε η λειτουργία της ασύγχρονης μηχανής της οποίας το μοντέλο είχε δημιουργηθεί στο περιβάλλον του Opera, κατά την τροφοδοσία της μέσω του ηλεκτρονικού μετατροπέα ισχύος τύπου “Matrix”, το μοντέλο του οποίου είχε δημιουργηθεί στο Simulink του Matlab. Στο κεφάλαιο 1 παρουσιάζονται τα σημαντικότερα σημεία της τεχνολογίας των τριφασικών ηλεκτρονικών μετατροπέων ισχύος τοπολογίας “Matrix” και οι βασικές τεχνικές και μέθοδοι που χρησιμοποιούνται για τον έλεγχο του μετατροπέα προκειμένου να γίνει αντιληπτός ο τρόπος λειτουργίας του, ενώ στο κεφάλαιο 2 αναφέρονται οι βασικές αρχές λειτουργίας της τριφασικής ασύγχρονης μηχανής. Στα κεφάλαια 3 και 4 παρουσιάζονται το μοντέλο της μηχανής και του μετατροπέα, όπως δημιουργήθηκαν στα αντίστοιχα προγράμματα και παρουσιάζεται η εξομοίωση της μεμονωμένης λειτουργίας τους. Συγκεκριμένα στο κεφάλαιο 3, μετά την παρουσίαση του μοντέλου της μηχανής, εξομοιώνεται η λειτουργία της στο πρόγραμμα Opera με ημιτονοειδή τάση τροφοδοσίας και στο κεφάλαιο 4 παρουσιάζεται η εξομοίωση της λειτουργίας του μετατροπέα με ωμικό-επαγωγικό φορτίο. Στο κεφάλαιο 5 γίνεται η «σύνδεση» των δύο μοντέλων και εξομοιώνεται η λειτουργία του συστήματος σε δύο διαφορετικές περιπτώσεις. Πρώτα για σταθερή σε μέτρο και συχνότητα τάση εξόδου του μετατροπέα με την οποία τροφοδοτείται η ασύγχρονη μηχανή (κινητήρας) της οποίας μεταβάλλουμε το μηχανικό φορτίο και στη συνέχεια για λειτουργία του κινητήρα υπό σταθερό φορτίο και μεταβολή της συχνότητας και του μέτρου της τάσεως εξόδου του μετατροπέα. Τέλος στα κεφάλαια 6 και 7 εξετάζεται η λειτουργία της μηχανής όταν σε αυτήν παρουσιάζεται ένα βραχυκύκλωμα μεταξύ κάποιων σπειρών του τυλίγματος μίας φάσης του στάτη και εξομοιώνεται η λειτουργία της μηχανής με ημιτονοειδή τάση τροφοδοσίας (κεφάλαιο 6) καθώς και όταν τροφοδοτείται μέσω του μετατροπέα, τόσο εν κενώ όσο και με μηχανικό φορτίο (κεφάλαιο 7). / In this degree thesis a model of an electromotion system consisting of an asynchronous machine and a power electronic Matrix topology converter was created and then simulated with the help of an electronic computer, using the software of Matlab Simulink and Vector fields Opera software which makes use of the finite elements method. The main objective of this work was the examination and the utilization of the interaction capability between these two software. Particularly, it is simulated the behavior of the asynchronous machine, the model of which was designed in the Opera environment, fed by the Matrix converter which its model was designed in Simulink. In the first chapter there are presented the most important parts of the three-phase power electronic Matrix topology converter and the basic techniques and methods that are used for the control of the converter in order to understand its function, while in the second chapter the fundamentals of the asynchronous machine are mentioned. In chapters 3 and 4, the models of the asynchronous machine and of the Matrix converter are presented as they were designed in Opera and Simulink and also there are presented the simulations of these two models separately. in addition, in the third chapter, after the presentation of the machine’s model, it’s function is simulated with the use of software Opera for sinusoidal power supply and in chapter 4 it is given a simulation of the function of the Matrix converter for a R-L load. In the fifth chapter we have the “connection” of the two models and the simulation of the function of the “whole” system in two different cases. First the simulation is carried out for a stable in amplitude and frequency output voltage supply of the Matrix converter with which the asynchronous machine (induction motor) is supplied while the mechanical load connected to the motor is modified and secondly it is presented the simulation of the system for a stable, during the simulation time, mechanical load but with modification of the amplitude and frequency of the converter’s output voltage with which the motor is supplied. Concluding, in chapters 6 and 7, the function of the motor is examined in the case that there is a stator inter turn short circuit in a phase winding and in chapter 6 a simulation of the function of the motor with this fault is carried out for sinusoidal supply, while in chapter 7 there are presented simulations of the same model of the motor with the fault, being supplied by the matrix converter in the cases that the motor is rotating with load torque and without any mechanical load.