« L’influence est une chose sombre et peu claire » disait Vladimir Nabokov en 1930, réfutant avoir été profondément influencé par ses prédécesseurs. Pourtant, comme il le soulignait lui-même, cet auteur russe francophone avait lu les œuvres complètes de Flaubert en français avant l’âge de 14 ans et considérait Madame Bovary comme le roman le plus « brillant de la littérature européenne ». Cette étude se propose d’examiner ce lien à travers une nouvelle définition de l’influence, s’appuyant sur les théories d’Harold Bloom et de Derek Attridge, mais centrée sur l’individualité des auteurs, considérée comme le moteur du processus d’influence, processus caractérisé à la fois par l’exploration des idées du précurseur et la déviation de celles-ci. L’analyse de la conception nabokovienne de l’œuvre de Flaubert permettra de mettre au jour le retentissement qu’a pu avoir cette lecture sur l’œuvre de Nabokov. En effet, si le style de Nabokov est unique et original, son admiration pour le rythme et la sonorité de l’écriture flaubertienne dévoilée dans le cours de Nabokov sur Madame Bovary invite à s’interroger sur la façon dont son interprétation individuelle du style flaubertien se retrouve dans certains aspects de la propre écriture de Nabokov. Également, cet examen parallèle fournira un éclairage nouveau sur les œuvres des deux auteurs, et sur leur vision de la littérature, apparemment lié dans refus de l’incidence sociale et une adhésion à un purisme esthétique complexe, liant la beauté et la vérité. Enfin, cette analyse donnera lieu à une recherche de deux définitions du « style », chez deux auteurs fascinés par l’exactitude et la quête de la précision verbale. / « Influence is a dark and unclear thing » Vladimir Nabokov said in 1930, as he denied having been deeply influenced by any past writer. However, and as he declared himself, this French-speaking Russian writer had read the complete works of Flaubert in French before the age of 14 and considered Madame Bovary to be “the most brilliant novel in world literature”. This study plans to examine this link through a new definition of influence, based on the theories of Harold Bloom and Derek Attridge, but focused on the writers’ individuality, which is seen as the core of the influence process, a process characterized both the exploration idea found in the precursor’s work and the deviation of those ideas. The analysis of the Nabokovian conception of Flaubert’s work will be used to bring to light the impact such a reading may have had on Nabokov’s work. Indeed, although Nabokov’s style is unique and original, his admiration for the rhythm and sounds of Flaubert’s writing, described at length in Nabokov’s class on Madame Bovary, suggests an inquiry on the way that his individual interpretation of Flaubert’s style may have reverberations in Nabokov’s own writing. Also, this parallel examination will provide a new study of both authors’ works, and on their vision of literature, apparently linked by a common contradiction between social impact and aesthetic purism. Finally, this analysis will give rise to a search for two definitions of “style”, in two writers fascinated by exactitude and the quest of verbal accuracy.

In marketing literature, the consumer engagement concept has gained the significant attention of researchers. Based on the stimuli-organism-response (S-O-R) framework, current research proposed to analyze the association between consumers' perception of characteristics of firm-generated content (FGC) on Instagram and positive electronic word of mouth by consumers through affective consumer engagement. The quantitative research technique was employed to evaluate the hypotheses and theoretical framework, and an online survey was developed for this research. The backdrop for this study is Pakistan’s restaurant Instagram accounts due to the importance of engagement in the food sector. To test the hypotheses, SPSS software is used. From the analysis and results generated from different tools, it is found that Customer engagement is significantly affected by perceived enjoyment which they get from original Instagram post of the brands they follow. Additionally, it is found that if a firm or brand puts in effort in enhancing their content catering to better perceived enjoyment and perceived originality for improving customers’ engagement, then they are more likely to improve the WOM numbers which can bring in more followers and evidently more business.

La présente recherche a pour but de faire le point sur l'état du droit canadien et sur ses perspectives futures en relation avec les œuvres créées par ordinateurs. L'outil terminologique choisi pour notre objectif est le logiciel de traduction automatique multilingue qui, à cause de sa complexité, s'éloigne le plus du programmeur « créateur» et se rapproche le plus d'œuvres qui ne peuvent être directement attribuées aux linguistes et programmeurs. Ces outils et leurs créations seront d'après nous les prochains outils technologiques à confronter le droit. En effet, dans un avenir prévisible, considérant l'évolution technologique, ces logiciels produiront des textes qui bénéficieront d'une valeur commerciale ajoutée et c'est alors que certains feront valoir leurs « droits », non seulement sur les textes mais aussi sur la technologie. Pour atteindre cet objectif, nous débuterons par un retour historique sur la technologie et ses origines. Par la suite, nous ferons une analyse de la protection actuelle accordée aux logiciels, aux banques de données et aux traductions qu'ils produisent. Nous déterminerons ensuite qui sera responsable des textes produits en relation avec le texte d'origine et avec sa résultante au niveau du droit d'auteur et de celui de la responsabilité civile. Cette recherche nous amènera à conclure que le droit actuel est « mésadapté » tant à l'égard de la protection qu'au niveau de la responsabilité. Ces conclusions devront d'après nous imposer un retour aux principes fondamentaux du droit. Ce fondamentalisme légal sera pour nous le prix à payer pour la légitimité. En effet, plus particulièrement concernant le droit d'auteur, nous conclurons qu'il devra cesser d'être le « fourre-tout» du droit de la propriété intellectuelle et redevenir ce qu'il doit être: un droit qui protège la créativité. Cette démarche prospective tirera ses racines du fait que nous serons obligés de conclure que les juristes canadiens ont refusé, à tort à notre point de vue, de renvoyer au monde des brevets les méthodes et procédés nouveaux et inventifs, ce qui donc a introduit des problématiques inutiles qui exacerbent l'incertitude. Finalement, notre cheminement nous dirigera vers le droit de la responsabilité où nous soutiendrons que le fournisseur ne peut actuellement être responsable du texte produit puisqu'il ne participe pas directement aux choix et ne porte pas atteinte au contenu. Voici donc en quelques mots le cœur de notre recherche qui entrouvre une boîte de Pandore. / The aim of this research is to take stock of the state of the Canadian law and its perspectives for the future in relationship with computer-generated work. The terminology tool chosen is the multilingual automatic translation software that, because of its complexity, drifts out of the most from "creative" programs. In fact, it is closer to creations that cannot be directly c1aimed for by linguists and programmers. These tools and their work will be, according to us, the next technological tool to confront the law. Indeed in a foreseeable future, considering technological evolution, these software will produce texts with an added market value and then some people will realize their "interests" not only on texts but also on technology. To achieve this, we will start by a historical return on the technology and its origins. After we will analyse the present protection accorded to software, data banks and translations they create. We will then determine who is responsible for the texts produced in relation with the original text and its resultant at the level of the copyright and that of the third party liability. This study will conclude that the present law is "unsuited" with respect to protection and responsibility. According to us, these conclusions will have to command a return to the fundamental principles of law. This legal fundamentalism will be the price we have to pay for legal sufficiency. Indeed, particularly regarding copyright, we will conclude that it needs to cease being a "rag-bag" for intellectual property law and it needs to become again what it should be : a right that protects creativity. This forward-Iooking approach will take its roots from the fact that we will be obligated to conclude that Canadian jurists have, from our perspective, incorrectly refused to send back to the patent world the methods and processes, new and inventive. As an effect, this has introduced useless problems that exacerbate uncertainty. Finally, our line of thought will direct us to the responsibility law where we will submit that the provider cannot actually be responsible for the text created because he does not participate directly to the choices and he does not go to the content. This is in summary the heart of our study that half-opens a Pandora's box.

This study examined the relationship between the open-endedness of activities and the creativity of young children. Eleven prekindergarten classes were observed and rated twice using a researcher-developed instrument, the Open-endedness of Activities Rating Scale (OARS). Three classes were selected from the 11 based on their cumulative ratings in the first observation (CROBS1): the class with the lowest degree of open-endedness of activities (CLSL), the class with a medium degree of openendedness of activities (CLSM), and the class with the highest degree of open-endedness of activities (CLSH). Fifty-two "atrisk" students in these three classes (24 boys, 28 girls), who had no identified disabilities or delays, were tested utilizing Torrance's (1981) Thinking Creatively in Action and Movement (TCAM). A correlation was then drawn between the three classes' ranks of CROBS1 and their respective ranks of mean TCAM scores: fluency scores (FLUE), originality scores (ORIG), imagination scores (IMAG), and total scores (TTCAM). The 11 classes' CROBS1 was correlated and compared with their cumulative ratings in the second observation CROBS2 in order to examine the reliability of the OARS. The results from the study indicated that: (1) the researcher-developed instrument, the OARS, is reliable for research purposes; (2) the degree of openendedness of activities is significantly positively related to the level of creative thinking ability of the young children engaged in these activities; (3) increasing the open-endedness of activities is most beneficial for a class with a relatively low degree of openendedness, because a moderate increase in its open-endedness can result in a noticeable improvement in the fluency, originality, and total creative thinking ability of its students; and (4) increasing the open-endedness of activities is also beneficial for a class with a relatively medium degree of open-endedness, because a moderate increase in its open-endedness can result in a noticeable improvement in its students' imagination.

Syfte: Mänskligheten strävar alltid efter att utvecklas och kreativitet är en central del i processen då världen ständigt blir mer komplex. Forskning inom området kreativitet är således en nödvändighet för ett modernt och framåtsträvande samhälle. Likaså inom marknadsföring ges kreativitet utrymme då marknaden idag är hårt konkurrensutsatt och utsatt för ett överflöd av marknadsföring. Det är därför av stor vikt att differentiera sig från mängden för att bli uppmärksammad och kreativitet är en betydelsefull del i att göra marknadsföring synlig. Syftet med studien är att söka förståelse kring vilka kreativa marknadsföringskomponenter som bidrar till uppmärksamhet samt hur de påverkar graden av uppmärksamhet. Syftet är även att minska det existerande forskningsgapet inom området.Design/metod: En empirisk undersökning av uppmärksammade reklamfilmer har gjorts för att uppnå studiens syfte och inspiration är till stor del hämtad från kulturanalys. Studien innehåller en kvalitativ analys av nio reklamfilmer där fyra marknadsföringskomponenter med koppling till kreativitet har identifierats och analyserats. De komponenter som inkluderats i studien är originalitet, humor, storytelling samt kändiseffekt och tidigare forskning och teorier inom dessa områden har legat till grund för studien.Resultat: Resultatet av studien visar att samtliga marknadsföringskomponenterna återfanns i fem av de nio reklamfilmer som analyserades. Originalitet och storytelling återfanns i de fyra resterande reklamfilmerna. Samtliga av komponenterna konstateras därför bidra till att öka uppmärksamheten kring en reklamfilm dock i olika stor utsträckning. Originalitet och storytelling är tillsynes en nödvändighet medan humor och kändiseffekten är komponenter som kan öka chanserna ytterligare för en reklamfilm att nå stor uppmärksamhet. Studien har även resulterat i slutsatsen att humor i större utsträckning återfinns bland uppmärksammade reklamfilmer. Studien bekräftar även tidigare forskning som visar att oväntade element är den form av humoristisk reklam som till största delen återfinns i dagens reklam.Framtida forskning: För framtida forskning rekommenderas det att studien utökas med analys av fler mediekanaler, observationer under längre tidsperiod samt intervjuer med respondenter som för första gången utsätts för reklamen. Det för att öka överförbarheten samt trovärdigheten och göra studiens resultat mer generellt applicerbart inom marknadsföring. / Program: Civilekonomprogrammet

The purpose of this thesis is to extrapolate through research the conceptual underpinnings of a body of artwork created by Matt Sigmon. The thesis explains the work in relation to art historical references to readymade art and the dilemmas that arise when fine art is compared to consumer commodities.

La présente recherche a pour but de faire le point sur l'état du droit canadien et sur ses perspectives futures en relation avec les œuvres créées par ordinateurs. L'outil terminologique choisi pour notre objectif est le logiciel de traduction automatique multilingue qui, à cause de sa complexité, s'éloigne le plus du programmeur « créateur» et se rapproche le plus d'œuvres qui ne peuvent être directement attribuées aux linguistes et programmeurs. Ces outils et leurs créations seront d'après nous les prochains outils technologiques à confronter le droit. En effet, dans un avenir prévisible, considérant l'évolution technologique, ces logiciels produiront des textes qui bénéficieront d'une valeur commerciale ajoutée et c'est alors que certains feront valoir leurs « droits », non seulement sur les textes mais aussi sur la technologie. Pour atteindre cet objectif, nous débuterons par un retour historique sur la technologie et ses origines. Par la suite, nous ferons une analyse de la protection actuelle accordée aux logiciels, aux banques de données et aux traductions qu'ils produisent. Nous déterminerons ensuite qui sera responsable des textes produits en relation avec le texte d'origine et avec sa résultante au niveau du droit d'auteur et de celui de la responsabilité civile. Cette recherche nous amènera à conclure que le droit actuel est « mésadapté » tant à l'égard de la protection qu'au niveau de la responsabilité. Ces conclusions devront d'après nous imposer un retour aux principes fondamentaux du droit. Ce fondamentalisme légal sera pour nous le prix à payer pour la légitimité. En effet, plus particulièrement concernant le droit d'auteur, nous conclurons qu'il devra cesser d'être le « fourre-tout» du droit de la propriété intellectuelle et redevenir ce qu'il doit être: un droit qui protège la créativité. Cette démarche prospective tirera ses racines du fait que nous serons obligés de conclure que les juristes canadiens ont refusé, à tort à notre point de vue, de renvoyer au monde des brevets les méthodes et procédés nouveaux et inventifs, ce qui donc a introduit des problématiques inutiles qui exacerbent l'incertitude. Finalement, notre cheminement nous dirigera vers le droit de la responsabilité où nous soutiendrons que le fournisseur ne peut actuellement être responsable du texte produit puisqu'il ne participe pas directement aux choix et ne porte pas atteinte au contenu. Voici donc en quelques mots le cœur de notre recherche qui entrouvre une boîte de Pandore. / The aim of this research is to take stock of the state of the Canadian law and its perspectives for the future in relationship with computer-generated work. The terminology tool chosen is the multilingual automatic translation software that, because of its complexity, drifts out of the most from "creative" programs. In fact, it is closer to creations that cannot be directly c1aimed for by linguists and programmers. These tools and their work will be, according to us, the next technological tool to confront the law. Indeed in a foreseeable future, considering technological evolution, these software will produce texts with an added market value and then some people will realize their "interests" not only on texts but also on technology. To achieve this, we will start by a historical return on the technology and its origins. After we will analyse the present protection accorded to software, data banks and translations they create. We will then determine who is responsible for the texts produced in relation with the original text and its resultant at the level of the copyright and that of the third party liability. This study will conclude that the present law is "unsuited" with respect to protection and responsibility. According to us, these conclusions will have to command a return to the fundamental principles of law. This legal fundamentalism will be the price we have to pay for legal sufficiency. Indeed, particularly regarding copyright, we will conclude that it needs to cease being a "rag-bag" for intellectual property law and it needs to become again what it should be : a right that protects creativity. This forward-Iooking approach will take its roots from the fact that we will be obligated to conclude that Canadian jurists have, from our perspective, incorrectly refused to send back to the patent world the methods and processes, new and inventive. As an effect, this has introduced useless problems that exacerbate uncertainty. Finally, our line of thought will direct us to the responsibility law where we will submit that the provider cannot actually be responsible for the text created because he does not participate directly to the choices and he does not go to the content. This is in summary the heart of our study that half-opens a Pandora's box.

This Bachelor Thesis examines sampling as creative process in relation to friction between users and creators. The goal of this thesis is to create an understanding of the relations involved in creative processes and explore sustainable manner of working with processes. To explore creative processes, sampling is interpreted in relation to music production and the musical culture involved in shaping of worlds. Sampling is the processes of creating from what already is in a way of involving the users and creators with the past, present and future. The friction of creative processes involves an understanding of innovation and originality that questions existing principles. Sampling in relation to friction is about boundaries, how do we involve ourselves in an accountable process and what is appropriation in relation to creative engagement? / Det här kandidatarbetet undersöker sampling som en skapandeprocess i relation till användare och deltagare. Syftet med undersökningen är att skapa en förståelse för de relationerna involverade i en skapandeprocess och utforska hållbara aspekter av att arbeta med processer. För att undersöka skapandeprocesser förstås sampling i relation till musikproduktion och musikkultur som världskapande. Sampling möter skapandeprocesser med det redan befintliga genom att involvera användaren och deltagaren i dåtid, nutid och framtid. Friktionen i skapandeprocesser prövar förståelsen av innovation, originalitet och ägande. Sampling i relation till friktion handlar om gränser, hur kan vi involvera oss i ett ansvarfullt skapande och vad är appropriering i relation till skapandeprocesser?

O presente trabalho faz uma análise, sob o aspecto do direito internacional e do direito brasileiro, do instituto do contributo mínimo em direito de autor, a qual pouquíssima atenção foi dada pela doutrina e jurisprudência brasileiras. Trata-se da análise do mínimo grau criativo que uma criação deve possuir para ensejar proteção por direito de autor esse é o sentido que damos à expressão contributo mínimo.Devido ao caráter internacional do direito de autor, fazemos a análise sob esse aspecto, passando por um pouco da história em âmbito global e tratando de que modo esse instituto é previsto e assegurado através do direito internacional público e do direito internacional privado. Como o tema é ainda novo no Brasil, fazemos observações de ordem terminológica, diferenciando o instituto do contributo mínimo de demais institutos do direito de autor. Durante todo o trabalho são feitas diversas menções e citações a doutrina, jurisprudência e normas estrangeiras, com objetivo de analisar da forma mais ampla possível o modo como tem sido tratado e discutido esse instituto.Por fim, são apresentados problemas clássicos e muitos práticos em matéria de direito de autor, tais como (i) definição de obra protegida, (ii) delineamento de requisitos para proteção aquisição de proteção por direito de autor, (iii) questões envolvendo plágio e obras derivadas e (iv) balanceamento justificador entre o exclusivo do direito de autor e os todas as formas de direito de acesso às criações. Em todas essas questões, são apresentadas as formas em que o contributo mínimo está presente e como é dada sua influência e contribuição para resolução das mesmas. / In the present work we make an international analysis of international law and Brazilian law about the minimum contribute, a requirement for copyright and authors rights protection that almost all the time has the same meaning as the originality requirement. Since the word originality not always mean the minimum degree of creativity that a creation must to bear in order to gain copyright or authors right protection, we preferred to use here, with this connotation, the expression minimum contribute. This subject still has not received much attention from Brazilian commentators and case law, in spite of its importance.The analysis focuses on the international dimension of this subject in attention to the copyrights / authors rights international character. We start with a little bit of history on the global dimension and then present the way the minimum contribute is found and guaranteed on public international law and on private international law. Thus, since the minimum contribute study is still new on Brazil, we make some terminology distinction between this expression and its meaning from other often apparent similar meaning terms and expressions on copyright. During all the work we present a lot of information and make quotation on foreign commentators, case laws and laws, in pursue of analyzing, in the broadest way possible, how the minimum contribute has been treated and discussed.Finally, we present typical and practical matters on copyright, like (i) definition of protected work, (ii) delineation of copyright requirements, (iii) plagiarism, (iv) derivative works and (v) copyright central balance. When we talk about each one of these matters, we also analyze how the minimum contribute appears and how it can influence and make contribution in finding solutions to them.

Made available in DSpace on 2016-12-08T16:19:01Z (GMT). No. of bitstreams: 1 GIO-1.pdf: 21583998 bytes, checksum: d1c5c42e86215d6426b9d48609f648ae (MD5) Previous issue date: 2007-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research investigates the picturesque in contemporaneity of works produced by me, especifically photographs, where such aesthetic category can be highlighted. From Richard Payne Knight, Uvedale Price and William Gilpin, three main XVIII theoreticians, the picturesque was conceptualized as a model for arranging and as landscape itself. Together with these authors, the artist Claude Lorrain was studied, on account of the magnificence nature of his landscapes, and Robert Smithson, author of Monuments of Passaic. Both problematize the picturesque and time, which are issues that were later investigated in tandem with George Didi-Huberman´s concept of survival and Rosalind Krauss´s concept of originality. Such approaches highlight a picturesque that is not only aesthetic, closed typology inside objective and formal qualities, but also reverberations that invite other ways of looking at contemporary landscape. The works that I present in this study used these theoretical and historical issues to understand the allure of determined conditions of nature elements found both in and out of the city space. Grasses, weeds and other plants appear in wastelands, lagoons and beaches, sidewalks and walls, equivalent to the longed English garden nature for showing how splendid the natural growth is / Esta pesquisa investiga o pitoresco na contemporaneidade a partir de trabalhos que produzo, especificamente fotografias, onde tal categoria estética poderá estar sendo evidenciada. A partir de Richard Payne Knight, Uvedale Price e William Gilpin, seus principais teóricos do século XVIII, o pitoresco foi compreendido como sendo o próprio modelo de arranjo e conceito de paisagem. Junto a esses autores, foram pesquisados os artistas Claude Lorrain, devido à natureza magnificente de suas paisagens, e Robert Smithson, a partir do trabalho Monumentos de Passaic. Ambos problematizam o pitoresco e o tempo, que são questões posteriormente investigadas juntamente ao conceito de sobrevivência de George Didi-Huberman e de originalidade de Rosalind Krauss. Tais abordagens apontam para um pitoresco que não é somente tipologia estética, fechada dentro de qualidades objetivas e formais, mas reverberações que disseminam outras maneiras de olhar para paisagem contemporânea. Os trabalhos que apresento valem-se dessas investigações teóricas e históricas para compreender o fascínio diante de determinadas condições dos elementos da natureza, encontrados tanto no espaço das cidades quanto fora dele. Mato, capins e plantas daninhas aparecem em terrenos baldios, lagoa e praia, calçadas e paredes equivalendo-se à natureza almejada pelos jardins ingleses, àquela que se mostra esplendorosa por invocar um crescimento natural