En remontant à la genèse de la réception de La Nuit des Morts-vivants (Romero, 1968) dans la presse américaine entre 1967-1971, la présente recherche vise à élucider sa trajectoire médiatique et, ce faisant, montrer le caractère progressif de sa consolidation en tant que film culte, œuvre d’art et phénomène digne d’intérêt public. L’investigation cherche ainsi à comprendre comment un film qualifié d’« orgie sadique » par sa première critique nationale dans le magazine Variety devient digne d’une projection au Musée d’Art Moderne à New York et donne naissance à de nombreuses interprétations, lancées en 1970 par sa critique européenne. La Nuit sera compris comme un reflet métaphorique à peine déguisé des conflits internes (tensions raciales, l’affaiblissement du patriarcat traditionnel) et externes (guerre du Vietnam) traversés par la société américaine. Au-delà l’immédiateté de ses images violentes de cannibalisme, son contenu sera jugé comme socialement subversif. Au final, ce petit film d’horreur produit par une équipe d’inconnus de Pittsburgh deviendra partie intégrale du patrimoine culturel des États-Unis et donc de la mémoire nationale. C’est dire que le travail des critiques fait bien davantage que d’informer une communauté de lecteurs, spectateurs, auditeurs, au sujet d’une nouvelle sortie culturelle. La tâche journalistique consistant à informer des publics anonymes est également une opération de médiation. En présentant La Nuit des Morts-vivants comme un miroir de la société, les critiques font de l’imaginaire une source de réflexion sur le vivre ensemble. Ce faisant, ils permettent à une collectivité nationale d’une société démocratique caractérisée par la communication de masse de se donner à voir à elle-même et d’avoir prise sur son passé et ses propres actions. / The present research follows George A. Romero’s Night of the Living Dead’s reception in the American press between 1967 and 1971. The analysis of the film’s media career shows how it progressively becomes consolidated as a public phenomenon, cult film and a work of art. The aim of the investigation is to understand by what means a film qualified by its first national review in Variety as an “orgy of sadism” becomes worthy of projection at New York’s Museum of Modern Art and the object of numerous interpretations, initiated by European critics in 1970. Night will be interpreted as a barely disguised metaphor of interior and exterior conflicts that shook the United States in the late Sixties (racial tensions, weakening of the traditional patriarchy, Vietnam War). Beyond the immediacy of its violent imagery of cannibalism, its content will be seen as socially and politically subversive. In the end, this little horror film made by some Pittsburgh-based amateurs will be integrated into United States’ cultural heritage, i.e. the national memory. This indicates that (film) critics do more than just inform their readership about new cultural releases. A journalist’s job consisting of spreading information to anonymous audiences is also an operation of mediation. By presenting Night of the Living Dead as a mirror of the American society, the critics take up the imaginary as a source for reflection on the commonly shared world. By doing so, they enable a national collectivity of a democratic society characterized by mass communication to see itself and to have control on its own history and actions.

Le thème principal de cette thèse est celui des liens macro financiers. J’ai couvert trois questions différentes liées à ce sujet. Dans le premier chapitre, Gaël Giraud et moi-même développons un modèle pour la zone euro en réponse à de nombreuses critiques des modèles de politiques avant le GFC et en mettant l’accent sur l’interaction entre le secteur financier et la macroéconomie. Les deuxième et troisième chapitres portent sur le comportement du secteur financier au lendemain de la crise financière mondiale et ses implications pour la macroéconomie. Le chapitre 2 examine la pratique de l’abstention à l’égard des emprunteurs en difficulté. La question finalement pertinente dans ce chapitre est de savoir dans quelle mesure ce comportement influe sur l’économie réelle. Enfin, le troisième chapitre met en lumière un épisode de manipulation sur les marchés des matières premières. Cette prétendue manipulation n’était apparemment possible qu’en raison de la position dominante des banques sur le marché pendant la période qui a précédé la crise et par la suite. En fin de compte, je quantifie les effets d’un tel comportement et apporte la preuve d’un changement structurel du marché manipulé au cours de la période de manipulation alléguée. Le premier chapitre exploite un ensemble de données au niveau des banques, tandis que dans les chapitres 2 et 3, je développe des modèles macroéconomiques structurels. En particulier, le modèle de système dynamique du deuxième chapitre est une innovation. Cette catégorie de modèles, et plus particulièrement un modèle de la taille que nous développons, n’a jamais été estimée et utilisée par la suite pour l’analyse des politiques. / The main theme of this thesis are macro-financial linkages. I covered three different questions related to this topic. In the first chapter Gaël Giraud and I develop a model for the Euro Area answering to many of the critiques of policy models before the Global Financial Crisis and with a focus on the interaction between the financial sector and the macroeconomy. The second and third chapter focus on behaviour of the financial sector in the aftermath of the Global Financial Crisis and its implications for the macroeconomy. Chapter 2 investigates the practice of forbearance towards stressed borrowers. The ultimately relevant question in this chapter is to what extend there is a feedback to the real economy due to this behaviour. Finally, the third chapter sheds light on an episode of manipulation in commodity markets. This alleged manipulation was apparently only possible due to the dominant market position banks took in the run up to the crisis and thereafter. Ultimately I quantify the effects of such behaviour and provide evidence of a structural change of the manipulated market during the period of alleged manipulation. The first chapter exploits a bank level dataset, whereas in chapter 2 and 3 I develop structural macroeconomic models. Especially the dynamical system model in the second chapter is an innovation. This class of models and more specifically a model of the size we develop has never been estimated and subsequently used for policy analysis.

[pt] O argumento dos zumbis surgiu em 1974 em um artigo de Robert Kirk, mas foi com o livro The Conscious Mind (1996), de David Chalmers, que ele ganha um papel de destaque dentro da filosofia da mente. Tal argumento, que tem várias versões diferentes, tem como principal objetivo uma refutação do materialismo. De maneira muito resumida, ele diz que se for possível pensar em um zumbi físico, ser que seria fisicamente idêntico a um ser humano, mas sem estados qualitativos conscientes, ou seja, sem qualia, então tais estados não podem ser físicos. Se tais estados fossem físicos teria que faltar algo a tal zumbi. Deste modo, a única coisa que precisaria ser feita para refutar o materialismo seria mostrar que tal ser é concebível. No entanto, várias críticas surgiram e seu principal crítico, Daniel Dennett, tem ganhado apoio em sua defesa de que tais zumbis são logicamente impossíveis, ou seja, são inconcebíveis. / [en] The zombie argument came to be in 1974, in a paper by Robert Kirk, but it was David Chalmers` book, The Conscious Mind (1996) that gave it a prominent place within philosophy of mind. This argument`s main objective, and that of its several different versions, is to refute materialism. In short, it says that, if it is possible to think of a physical zombie, a being physically identical to a human being, but lacking qualitative conscious states - that is, lacking qualia - then such states cannot be physical. If such states were physical, the zombie would have to lack something. This way, all that would be necessary to refute materialism would be to show that such a being is conceivable. However, several critiques arose and the main author of those, Daniel Dennett, has been gaining support in his defense of the view that zombies are logically impossible, that is, are unconceivable.

2012 est un roman narré par un survivant à Montréal dans un univers post-apocalyptique de zombies. Les oeuvres littéraires, le cinéma et la télévision l’aideront à rester en vie. Le texte démontre que les connaissances acquises à travers différents biens culturels permettent la survie. L’intertextualité et l’intermédialité deviennent des outils centraux dans l’imaginaire du survivant. L’essai de ce mémoire porte sur les romans Le fil des kilomètres (2013) et Le poids de la neige (2016) de Christian Guay-Poliquin, deux textes qui présentent l’idée que les connaissances issues d’oeuvres permettent la survie du narrateur. Les réflexions de Renée Bourassa sur les fictions hypermédiatiques démontreront que les oeuvres de différentes productions culturelles présentes dans l’imaginaire du narrateur survivant forment un réseau de connaissances. Ce réseau permet à celui-ci de prendre des décisions en dialoguant avec les connaissances acquises dans des oeuvres. Cette remémoration agit à l’image d’un guide Wikipédia et d’un labyrinthe hypertextuel. / 2012 is a novel narrated by a survivor in a post-apocalyptic universe of zombies in Montreal. Books, movies and tv series will help him to stay alive. The text demonstrates that the knowledge acquired through different cultural objects allows survival. Intertextuality and intermediality become central tools in the survivor's imaginary. The essay in this thesis focuses on Christian Guay-Poliquin's Le fil des kilomètres (2013) and Le poids de la neige (2016), two texts which present the idea that cultural knowledge allows the narrator’s survival. Renée Bourassa's reflections on hypermedia fictions will demonstrate that the different cultural productions present in the imaginary of the surviving narrator form a knowledge network. This network enables the narrator to make decisions by interacting with the knowledge acquired in cultural items. This remembrance acts like a Wikipedia guide and a hypertextual labyrinth.

Philosophical zombies are beings that look exactly like humans and behave in the same way as humans do. The only difference between humans and philosophical zombies is that philosophical zombies lack consciousness. This means that they can complain, cry, laugh and say that they are in pain. However, emotionally, they will never experience these feelings. Philosophical zombies have no desires, no values, and no empathy. Despite philosophical zombies lacking all these qualities, the question can be raised whether, if they were to exist in our world, would they have any moral responsibility? This question becomes pressing because even though philosophical zombies feel nothing and lack consciousness, they are still capable of doing harm and able to act immorally. By using David Shoemaker's (2015) 'Tripartite Theory of Responsibility', I will in this essay analyse whether philosophical zombies are eligible for moral responsibility, and if so what type of moral responsibility they would be eligible for, i.e., whether it would be attributability, answerability or accountability. Furthermore, this essay will discuss if philosophical zombies and psychopaths are similar, and whether they are meant to be qualified for the same moral responsibility types, and if so, which type that would be. Additionally, this essay will discuss the dilemma that might arise if philosophical zombies are not suitable of being moral agents and bring up the debate of the moral agency of AI's. Thereby coming to the point if philosophical zombies are not fit to be held morally responsible.

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Recent media scholars have taken, as their focus, relationships between qualitative research methods and examinations of contemporary media texts (e.g., Fox, 2013; Manning, Dunn, & Stern, 2012; Meyer, 2012). The purpose of this panel is to further examine these relationships. Participants will demonstrate how a qualitative research method (e.g., ethnography, autoethnography, narrative analysis, textual or discourse analysis, audience studies) can be used to study contemporary television and film texts (e.g. Coronation Street, Here Comes Honey Boo Boo, Orange is the New Black, Mad Men, Cabin in the Woods, The Butler). Participants will first discuss their particular method and then provide an exemplar of that method as they examine their chosen media text(s). To assist with the audience discussion of these methods and texts, participants will also include a brief clip/excerpt of their chosen texts.

This thesis documents the development of a video game about sustainable energy use that unites fun with learning. Many other educational games do not properly translate knowledge, facts, and lessons into the language of games: mechanics, rules, rewards, and feedback. This approach differs by using game mechanics in new ways to express lessons about energy sustainability. This design is based on the real time strategy (RTS) genre. Players of these types of games must manage economic problems such as extracting, refining, and allocating resources, as well as industrial problems such as producing buildings and military units. These games often use imaginative fantasy elements to connect with their audience, but also made-up economic numbers and fictional resources such as magic crystals which have little to do with the real world. This thesis' approach retains the fantasy elements and gameplay conventions of this popular genre, but uses numbers, resources, and situations based on research about real-world energy production. The intended result is a game in which the player learns about energy use simply by trying to overcome the game's challenges. In addition, a combined quantitative/qualitative study was performed, which shows that players of the game learned new things, enjoyed the game, and became more interested in the topic of energy use.

I returned to school to receive an MFA in Musical Theater for many reasons, but paramount was the need to further explore and develop my range as an actress. Throughout my career, I have played a variety of roles, but none as challenging or possibly as rewarding as the man-hungry secretary UCharlieV in James Valcq5s Zombies from the Beyond, produced by the Jester Theatre in Winter Garden, FL. Performing this role allowed me to achieve one of my objectives when entering the grad program at UCF: to transition from a classical ingénue or soubrette into a leading lady or character actress; making Zombies from the Beyond the perfect capstone to my graduate experience. During the 1950s, American cinema was filled with sci-fi movies such as Forbidden Planet, The Thing from Another World, and Invasion of the Body Snatchers. Each movie depicted an otherworldly creature as the villain (a metaphor for the relationship between the United States and the USSR) who had only one purpose: total domination. Zombies from the Beyond aptly reveals the absurdity of the hysteria and paranoia surrounding the Ucold warV and the Uspace raceV that dominated America in the 1950s. The play makes comic use of the Udouble-red agentV and presents the belief that the space race and cold war inevitably were tied together, while examining Russia5s dirty tactics in the struggle for power. In addition to the historical ramifications of Zombies from the Beyond, post WWII America saw an explosive growth in female empowerment. Through each female iv character5s thoughts and actions on stage, Valcq5s musical tackles the struggle many women faced between the new feminist ideals and old-fashioned morals. My character, Charlene UCharlieV Osmanski, is the iconic man-hungry, working girl with a big heart (aka UThe SidekickV). She is a woman very much caught between the traditional values of the 1950s and the progressive, more feminist attitudes starting to take hold in the country. After accepting the role in Zombies from the Beyond, I realized my responsibility was to breathe new life into the role of the comedic sidekick while remaining true to the original vision and traditions that had been set forth by such brave comic pioneers as Rose-Marie, Thelma Ritter, and Vivian Vance. Faced with this daunting task and the enormity of creating a role with such a prominent historical and societal lineage, I asked myself, UWhat does an actor need to know in order to become the perfect sidekick?V To answer this compelling question and to ensure I did not fail in my task, I researched actresses who play a similar archetype; studied the evolution of the female comedienne; examined the audience5s relationship to the sidekick; and discussed the character5s future as an integral force in contemporary theatre, all in a convenient survival guide. Ultimately, the evolution of the mainstream audience and their shifting requirements for entertainment impact the sidekick5s portrayal on stage; however, since post-modernistic audiences no longer need one definitive stereotype or archetypal character, the ideas I set forth are not finite or absolute in nature. Instead, they create a v basic foundation that serves as a guide for the actor when creating a similar character while ensuring the sidekick5s place as a relevant and sustainable character for generations to come.

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