The topic of this research becomes a part of the study of different forms of authorial "Ego" in Internet texts. Blog Belonika interesting the personality of the author, and the author's unique narrative strategy. The first part is devoted to information and communication specifics of modern Russian blogosphere. The second part deals with questions of the communicative behavior and its structure, different classifications of the basic types of bloggers and understanding of characteristics of their communicative behavior. The third part is devoted to the analysis of the communicative model blogger Veronica Belotserkovskaya and set of her voice masks used to create her online identity. / Тема данного научного исследования лежит в области изучения различных форм проявления авторского «я» в интернет-текстах. Блог Belonika интересен как самой личностью автора, так и уникальной авторской нарративной стратегией. Первая часть работы посвящена информационной и коммуникативной специфике современной русской блогосферы. Во второй части рассматриваются вопросы коммуникативного поведения и его структуры, приводятся различные классификации основных типов блогеров и разбираются особенности их коммуникативного поведения. Третья часть посвящена анализу коммуникативной модели блоггера Вероники Белоцерковской и набора ее речевых масок, используемых для создания ее интернет-идентичности.

The automation in the aquaculture is proving to be more and more effective these days. The economic drain on the aquaculture farmers due to the high mortality of the shrimps can be reduced by ensuring the welfare of the animals. The health of shrimps can decline with even barest of changes in the conditions in the farm. This is the result of increase in stress. As shrimps are quite sensitive to the changes, even small changes can increase the stress in the animals which results in the decline of health. This severely dampens the mortality rate in the animals. Also, human interference while feeding the shrimps severely induces the stress on the shrimps and thereby affecting the shrimp’s mortality. So, to ensure the optimum efficiency of the farm, the feeding of the shrimps is made automated. The underfeeding and overfeeding also affects the growth of shrimps. To determine the right amount of food to provide for shrimps, Biomass is a very helpful parameter. The use of artificial intelligence (AI) to calculate the farm's biomass is the project's primary area of interest. This model uses the cameras mounted on top of the tank at densely populated areas. These cameras monitor the farm, and our model detects the biomass. By doing so, it is possible to estimate how much food should be distributed at that particular area. Biomass of the shrimps can be calculated with the help of the number of shrimps and the average lengths of the shrimps detected. With the reduced human interference in calculating the biomass, the health of the animals improves and thereby making the process sustainable and economical.

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Multipath error is a source of uncertainty within GNSS (Global Navigation Satellite System) where signals are reflected on various surfaces before they reach the receiver. The phenomenon causes a delay in the receiver when the reflected signal travels a longer distance than the direct one. Despite the fact that there is a good knowledge of the error, multipath effects are still a complex subject since its origin varies a lot. This has led to a number of different methods being developed for the purposes to distinguish and treat the error. The main goal of this study is to investigate the size and distribution of multipath errors and to present which satellites contributes to the most multipath effects meanwhile evaluating the existence of possible reflective objects. As a result, static measured coordinates are also analyzed against coordinates from a real-time measurement in order to study possible connections related to multipath errors. The study is based on observations measured over 16 points on the green area in front of house 45 at the University of Gävle. Furthermore, data processing and analysis are performed in the open software RTKlib with associated program extensions. The result of the study shows that multipath errors have an influence on GNSS-measurements over the survey area and that these errors vary in centimeters to a decimeter level in mean value and RMS for all points. Furthermore, it also appears from the study that satellites that are at higher elevation also emit signals containing multipath errors. In addition, it may be noted that signals even at higher elevation masks contribute to multipath errors over the points where points 2, 3 and 12 are most affected. Furthermore, signals from the satellites R10, R11, R19, R20 and G15 contain high multipath on both L1 and L2 frequencies. Possible sources of reflections was estimated over the area for points 2, 3 and 12 from the correlation between high multipath errors and direction towards the investigation area. / Flervägsfel är en osäkerhetskälla inom GNSS (Global Navigation Satellite System) där signalerna reflekteras innan de når mottagaren. Fenomenet orsakar en fördröjning hos mottagaren då den reflekterade signalen färdas en längre sträcka än den direkta. Trots att det idag finns en god kännedom kring felkällan är flervägsfel fortsatt komplex eftersom dess ursprung är väldigt varierande. Detta har medfört att en rad olika metoder tagits fram för experimentella ändamål inom området. Syftet med denna studie är att undersöka storlek och fördelning av flervägsfel samt visa på vilka satelliter som bidrar mest till effekterna av felkällan samtidigt som eventuella reflekterande objekt utvärderas. I följd av detta analyseras även efterberäknade koordinater mot koordinater från en realtidsmätning för att om möjligt kunna studera eventuella samband relaterat till flervägsfel. Studien grundar sig på observationer mätta med statisk metod över 16 punkter på gräsytan framför hus 45 vid Högskolan i Gävle. Vidare utförs databehandling och analyser i den öppna programvaran RTKlib med tillhörande programtillägg. Resultatet av undersökningen visar att flervägsfel har en påverkan på GNSS-mätningar över undersökningsområdet och att dessa fel varierar på centimeter till decimeternivå i medelvärde och RMS för samtliga punkter. Vidare framgår det också av undersökningen att satelliter som befinner sig vid högre elevationsmask också avger signaler innehållande flervägsfel. Som slutsats kan det konstateras att signaler även vid högre elevationsmask bidrar till flervägsfel över punkterna där punkterna 2, 3 och 12 är högst påverkade. Vidare innehåller signaler från satelliterna R10, R11, R19, R20 och G15 högt flervägsfel på både L1 och L2 frekvensen. Möjliga reflektionsobjekt uppskattades över området för punkterna 2, 3 och 12 från sambandet mellan högt flervägsfel samt riktning mot undersökningsområdet.

Introduktion: Att skapa fri luftväg i samband med prehospitalt hjärtstopp är en komplicerad åtgärd i en stressande situation. Det finns flera metoder för denna åtgärd och de har olika svårighetsgrad beroende på vilken metod som ambulanssjuksköterskan behöver använda för att nå framgång. Denna åtgärd förväntas ambulanssjuksköterskan klara av trots att miljön är utmanande och tidspressen stor.   Syfte: Att beskriva ambulanssjuksköterskors upplevelser av etablering av fri luftväg i samband med hjärtstopp.   Metod: Kvalitativ intervjustudie som analyseras med latent innehållsanalys. Tolv semistrukturerade intervjuer genomfördes på tre verksamhetsställen i södra Sverige.   Resultat: Ambulanssjuksköterskorna berättade om hur luftvägshantering är en liten men viktig del av allt de ska klara av i sin yrkesroll. Det finns en otrygghet i momentet intubation som beror på bristande utbildning i kombination med hur sällan ambulanssjuksköterskan gör detta i det dagliga arbetet. Studien resulterade i tre huvudkategorier: Otrygghet i yrkesrollen, Prehospitala framgångsfaktorer och Personcentrerad vård genom samarbete med tillhörande tolv subkategorier. Det som bekymrade ambulanssjuksköterskorna mest var luftvägshantering på barn. Det som upplevs vara den största framgångsfaktorn betonades vara de enkla åtgärderna när det gäller luftvägshantering.   Slutsats: För att öka ambulanssjuksköterskans trygghet i luftvägshantering krävs ökade utbildningsinsatser. Arbetsgivaren bör ta ett ökat ansvar för utbildning genom att skapa förutsättningar och uppföljning. Vidare bör de riktlinjer som finns för luftvägshantering ses över. De enklaste metoderna är oftast de bästa prehospitalt. / Introduction: To manage an airway in a prehospital environment is a complex measure in a stressful situation. There are several methods for this measure and they have various level of severity depending on the method the ambulance nurse chooses to apply. This measure is expected to be managed by the ambulance nurse despite rough environment and lack of time.   Purpose: To describe the ambulance nurse’s experiences of airway management in a cardiac arrest situation.   Method:  Twelve semi-structured qualitative interviews was made and analyzed by content analysis. The interviews were made at three different ambulance organizations in the south of Sweden     Result: The ambulance nurses told about how small but essential task airway management is. But it’s still a task they must be able to perform in their work.  There is an insecurity in the moment of intubation which is related to lack of training and how rarely they perform the moment in their daily duties. The study resulted in three main categories: Insecurity in the profession, Prehospital success factors and Person-centered care through teamwork with twelve subcategories. What concerned the ambulance nurses the most was airway management on children. They describe the greatest success factor to be the simplest possible measures when it comes to airway management.   Conclusion: To increase the ambulance nurse’s security in airway management more education efforts is needed. Employers should take a greater responsibility for education by creating conditions and monitoring. Therefore, should the guidelines for airway management be reviewed. The simplest methods in airway management are often the most successful.

Dans les milieux dits alternatifs ou undergrounden France, affiliés aux formes postmodernes de cultures fan geek et otaku, une pratique a émergé ces dernières années: le rôleplay. Ni tout à fait jeu de rôle, ni tout à fait théâtre, cette modalité d’échange basée sur une mise en scène de soi se pratique en groupe dans des espaces consacrés. Le présent travail est le résultat d’une ethnographie au sein de ces milieux. Il cherche à la fois à rendre compte de cette pratique et à analyser les enjeux qui lui sont liés. C’est une réflexion polyphonique qui lie les questionnements de l’identité, tant individuelle que collective et la performativité à travers, notamment, les travaux de Deleuze, Agamben et Butler. La forme éclatée dans laquelle interviennent différentes voix reprend l’idée de chaos carnavalesque,motif central dans la présente analyse. / In France, in alternative or underground circles characterized bypostmodern fandoms such as geek and otaku cultures, a new form of practice emerged these years defined by the French word rôleplay. It is neither role playing game nor theatre, but a way to exchange with other roleplayers, wearing a costume, in a dedicated area. This work is the result of ethnography in those milieu, and aims to give an account of this practice as much as to analyze the issues of rôleplay. This polyphonic essay links questions as identity (individual or collective) and performativity, through, notably, the work of Deleuze, Agamben and Butler. The splitted up form with several voices taking part recovers the carnivalschaos, central pattern in this analysis.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / Au 19e siècle, la pratique du masque mortuaire connut, en France, une popularité rarement vue dans l’histoire. Le masque de Géricault nous apparaît comme un objet emblématique de la culture matérielle française de cette période. Ce mémoire cherche d’abord, en l’inscrivant dans la mouvance du romantisme, à expliciter la signification historique de cet objet. La reproduction du masque, sa manipulation et son exposition dans les ateliers des artistes romantiques, ont contribué à construire la mythologie et la figure posthume de Géricault comme martyr de l’art. C’est ainsi que le masque participe pleinement du romantisme, que nous comprenons, avec Paul Bénichou et Éric Michaud, comme «relevant» le christianisme et ses stratégies de construction de mythe. Il nous apparaît alors nécessaire de considérer notre objet comme une relique séculaire qui supporte le nouveau culte de l’artiste. À partir de là, nous explorons, en nous appuyant sur l’anthropologie des images d’Hans Belting, la manière dont la réalisation du masque de Géricault renoue avec certaines pratiques dévotionnelles chrétiennes et même avec certaines pratiques funéraires des premières sociétés humaines. Le masque acquiert alors, parallèlement à l’oeuvre, la signification anthropologique d’être un substitut pérenne du cadavre destiné, par le culte, à «re-socialiser» le défunt, à lui faire don d’une vie posthume. Nous analysons ensuite les principaux usages du masque de Géricault dans les années 1830-1840 en portant une attention particulière à ses lieux d’accueil : le musée, la collection et l’atelier. Nous approfondissons ensuite les témoignages de l’historien Jules Michelet et du peintre Eugène Delacroix. Finalement, nous explicitons les liens qui existent entre la figure posthume de Géricault et l’oeuvre même du peintre, en tant qu’elle est habitée par une stratégie de fragmentation. / In 19th century’s France, the practice of death mask has reached a level of popularity rarely seen in history. The mask of Géricault is an emblematic object of french’s material culture of this time. By inscribing this object in romanticism, this thesis intends to elucidate its historical signification. The reproduction of the mask, its manipulation and its exhibition in the romantic artist’s studios contributed to construct the mythology and the posthumous figure of Géricault as a martyr of art. Thus, the mask fully pertains to romanticism. On the base of the research of Paul Bénichou and Éric Michaud, we understand this movement as “sublating” Christianity and its strategies of myth construction. We therefore acknowledge the necessity to consider our object as a secular relic, which supports the new cult of the artist. From that point, with respect to Hans Belting’s anthropology of images, we explore the way the production of this mask renews some Christian devotional practices, as well as some funerary practices of the first human societies. Concurrently to the painter’s work of art, the mask acquires the anthropological signification of being the corpse’s perennial substitute. Through the cult, the mask “resocializes” the dead and gives it a posthumous life. We next analyze the principal uses of the mask of Géricault in the 1830-40’s by focusing on the locations of its reception : the museum, the collection and the studio. Then, we examine the account of the historian Jules Michelet and the painter Eugène Delacroix. Finally, we articulate together the posthumous figure of Géricault and his work in its strategy of fragmentation.

The thesis focuses on two plays and one poetry collection by Federico García Lorca; El público, Así que pasen cinco an͂ os and Poeta en Nueva York, which together form the New York cycle and represent a new and unique phase in his compositions both from the point of view of content and form. The thesis concentrates on several distinctive motifs and themes related to the problem of human identity; ie the motifs and themes which discuss how to understand the individual or the human existence. This topic is reflected in the cultural context of Lorca's age, demonstrating that the atmosphere of the era corresponded with the author's personal perspective. The interpretation of human existence is strongly determined by the moment of death, therefore, the representation of death in the works and the related motifs are discussed in the thesis. At the same time, the similarity of Lorca's perspective with the philosophical ideas of the era is taken into consideration, with the emphasis on the philosophy of Martin Heidegger. In this context, we also focus on the author's relation to Christianity and the use of the Christian motifs in his plays and poems. In the following chapters, the motifs of mask and form are analysed. The thesis concentrates on the problem of the social mask, but also on the question of...

(Annotation) This thesis compares the orthodox approach to man to psychotherapeutics, especially with psychoanalysis, analytic psychology and logoterapy. These systems arise from positivistic backgrounds and approaches to man in this direction. In opposite to psychoanalysis analytic psychology and logoterapy think about spiritual aspect in life of man, but both systems mostly psychologize this aspect. The orthodox psychotherapy especially works with this spiritual aspect. It comes out from patristic anthropology referring that man is God's creature according to Genesis. The spirit aspect plays the cardinal role in the relationship between man and God. This relationship was corrupted by the rebellion of man against God. This rebellion has changed the ontological nature of man. According to the orthodox psychotherapy mental disorders are a result from this ontological change of man, which characterized by "garment of skin" done by God for man to revive in fallen state. The solution of mental disorders and then spiritual problems is to accept the state of "garments of skill" and in renewing of relationship with God.

L’identité du personnage théâtral ou opératique se révèle difficilement. Cette figure fictive est d’abord une créature de mots et/ou de notes : l’auteur ou le librettiste parsèment sa partition textuelle ou musicale d’indices qui permettent de dessiner ses contours. Cette thèse vise à découvrir la silhouette de papier du personnage ainsi décomposé. Pour exister, ce personnage doit également être porteur d’une vie scénique, c’est-à-dire jouer ; ce jeu, moteur de l’action et révélateur des désirs des protagonistes de l’intrigue, permet de dévoiler son « Je ».Pour assouvir son désir, le personnage, l’« Un », se trouve alors confronté au cours du jeu à l’« Autre », opposant ou adjuvant ; il doit imposer son désir, sa voix et faire entendre sa « contre-voix » face à la masse ou à la horde. Le personnage est celui qui se distingue au point de devenir pour l’Autre une créature étrange qui détonne, un étranger, et parfois même un animal ou un monstre, celui dont on se méfie, objet d’incompréhension, de fascination, de répulsion ou d’attraction.Enfin, nous envisageons le personnage, comme objet scénique malléable, transformable, morcelable, sujet à toutes les métamorphoses : l’auteur et l’acteur ou le chanteur s’unissent et conjuguent leurs efforts pour donner souffle et vie à ce personnage-objet. Sur scène, cette marionnette de l’interprète est soumise à évolution, transformation, déplacement, interprétation, et appropriation. / The stage character's identity is not clearly defined. The author, or librettist, sprinkles his textual or musical score with clues that allow us to shape this note and word-made creature. My goal here is to discover the paper outline of this split up character. In order to exist, the character must also act; this acting enables us to see the subtle wills and deep desires of other protagonists on stage, in other words: to bring out the "I" in each character.During the play, the character in itself, the "one", will be confronted to the "other", be it an adjuvant or opponent. He must impose his wills, his voice to the "other", but he must also be heard and understood by the crowd. For the others, a stage character has this specificity to become another: a strange creature who sounds different like a foreigner, and sometimes like an animal or a monster. Between misunderstanding and fascination, the audience can be repelled or attracted by it.At last, we consider a stage character as a malleable and dividable object, capable of many changes. The author and the actor or singer need to gather and combine their talents to bring this "object-character" to life. On stage, the performer, that is to say the interpreter's puppet, is subjected to evolution, constant changes, movement, different interpretations, and appropriation.