The diploma thesis is concerned with the portrayal of the female experience with the Second World War in The Night Watch (2006) by contemporary British writer Sarah Waters. The theoretical part outlines the socio-historical background of the novel with particular attention to the female experience of the Second World War in various fields, such as their family lives, job opportunities, and everyday life during the Blitz. Special attention is also given to the description of the female experience with abortion during the war and the lifestyles of female homosexuals in that historical period. The thesis further presents the theoretical delimitation of the neo-historical genre, of which the novel is a representative, and briefly introduces the novel in the context of Sarah Waters's other works in order to establish the basis for the analysis. The practical part of the thesis relies on the theoretical part and examines how the fictional portrayal of the female experience corresponds with the outlined reality. Simultaneously, the work considers how Waters uses the Second World War in her fictional story and which elements she chooses to highlight. Moreover, it discusses the reasons behind emphasising these elements in the novel and how it corresponds to the neo-historical genre. KEYWORDS Sarah Waters;...

Road traffic signs provide regulatory, warning, guidance, and other important information to road users to prevent hazards and road accidents. Therefore, the traffic signs must be detectable, legible, and visible both in day and nighttime to fulfill their purpose. The nighttime visibility is critical to safe driving on the roads at night. The state of the art gives clear evidence that the retroreflectivity improves the nighttime visibility (detectability and legibility) of the road traffic signs and that the nighttime visibility can be improved by using an adequate level of retroreflectivity. Furthermore, nighttime visibility can be affected by human, sign, vehicle, environmental, and design factors.  The retroreflectivity and colors of the road signs deteriorate over time and thus the visibility worsens, therefore, maintaining the road signs is one of the important issues to improve the safety on the roads.  Thus, it is important to judge whether the retroreflectivity and colors of the road sign are within the accepted levels for visibility and the status of the signs are accepted or not and need to be replaced.  This thesis aims to use machine learning algorithms to predict the status of road signs in Sweden. To achieve this aim, three classifiers were invoked: Artificial Neural Network (ANN), Support Vector Machines (SVM), and Random Forest (RF). The data which was collected in Sweden by The Road and Transport Research Institute (VTI) was used to build the prediction models. High accuracy was achieved using the three algorithms (ANN, SVM, and RF) of 0.84.3, 0.93, and 0.98, respectively. Scaling the data was found to improve the accuracy of the prediction for all three models and better accuracy is achieved when the data was scaled using standardization compared with normalization. Additionally using principal component analysis (PCA) has a different impact on the accuracy of the prediction for each algorithm. Another aim was to build prediction models to predict the retroreflectivity performance of the in-use road signs without the need to use instruments to measure the retroreflectivity or color. Experiments using linear and logarithmic regression models were conducted in this thesis to predict the retroreflectivity performance. Two datasets were used, VTI data and another data which was collected in Denmark by voluntary Nordic research cooperation (NMF group). The age of the road traffic sign, the chromaticity coordinate X for colors, and the class of retroreflectivity were found significant to the retroreflectivity in both datasets.  The logarithmic regression models were able to predict the retroreflectivity with higher accuracy than linear models. Two suggested logarithmic regression models provided high accuracy for predicting the retroreflectivity (R2 of 0.50 on VTI data and 0.95 on NMF data) by using color, age, class, GPS position, and direction as predictors. Nearly the same accuracy (R2 of 0.57 on VTI data and 0.95 on NMF data) was achieved by using all parameters in the data as predictors (including chromaticity coordinates X, Y for colors). As a conclusion, omitting chromaticity coordinates X, Y for colors from the logarithmic regression models does not affect the accuracy of the prediction.

Playing role of Feste in William Shakespeare’s Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare’s use of the clown developed, culminating in the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste’s sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten’s production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare’s cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare’s time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste’s role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing iv exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director’s vision and Shakespeare’s intention.

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À partir du milieu des années 2010 s’observe, dans les milieux festifs de la scène musicale montréalaise, l’émergence d’initiatives pour faire face aux oppressions multiples qui ont cours dans ses espaces. La lutte contre les violences sexuelles, les discriminations et les micro-agressions sexistes, racistes, homophobes, transphobes et capacitistes devient le cheval de bataille d’activistes impliqué·es dans la scène. Cette thèse s’attèle à expliquer l’apparition et étudier la mise en œuvre de nouvelles pratiques dites anti-oppressives dans la scène musicale montréalaise à partir de deux points de vue : celui de la scène alternative de musique électronique dansante, comportant les espaces clandestins de la scène rave et les petits festivals de niche, et celui de la scène commerciale incluant les grands festivals de renom montréalais. C’est à partir de la littérature sur la sociologie des mouvements sociaux, qui offre des approches analytiques nous informant sur l’émergence de l’action collective, que je propose une étude détaillée de l’activisme sur la scène musicale. Cette étude a été rendue possible grâce à une collecte de données qualitative par entrevues auprès d’une trentaine d’acteurs et d’actrices de la scène (artistes, promoteur·rices, directeurs d’entreprises, travailleur·euses communautaires et employé·es). Dans la scène alternative, l’émergence des initiatives repose sur une alliance entre son éthos discursivement construit, ses pratiques culturelles spécifiques et la politisation radicale de quelques initié·es activistes. Ces dernier·ères souhaitent mettre en pratique leurs idéaux d’espace plus sûr (safer space) à travers une implication formelle dans deux organisations, le Collectif d’intervention contre les oppressions (CICLOP) et l’Association pour la réduction des risques (ARéR). Ces militant·es développent des savoirs qu’iels diffusent sur la scène à l’aide de techniques pédagogiques qui sont étudiées dans la thèse. Dans la scène commerciale, l’émergence des pratiques s’explique par une structure d’opportunités politiques favorable, dynamisée par le mouvement #MoiAussi et ses corollaires, conjuguée à des efforts de diffusion par des passeurs individuels, institutionnels et politiques. / Since mid-2010, we can observe on the Montreal nightlife and music scene the emergence of initiatives trying to break multiple oppressions going on in its spaces. The struggle against sexual violence, sexist, racist, homophobic, transphobic and ableist discriminations and microaggressions has become the key issue of activists acting in those spaces. This thesis wishes to explain the emergence and implementation of new anti-oppressive practices on the Montreal music scene from two perspectives: one from the alternative electronic dance music scene, including niche festivals and rave scene’s underground spaces; the other from the mainstream scene, including big festivals. The literature concerning social movements sociology, offering analytical models that inform on the emergence of collective action, helped me propose a detailed study of activism on the music scene, being possible due to a qualitative data collection with about thirty scene actors (artists, promoters, business directors, community workers, and employees). The results indicate that, on the alternative scene, initiatives’ emergence is explained by the alliance between its discursively constructed ethos, its specific cultural practices and some insiders radical politization processes. Those insiders wish to put into practice their safer space ideals through their participation into two formal organizations: Collectif d’intervention contre les oppressions (CICLOP), and Association pour la réduction des risques (ARéR). These activists develop knowledge that they diffuse on the scene through diverse pedagogical technics. On the mainstream scene, practices’ emergence is explained by a favourable political opportunities’ structure, dynamized by the #MeToo movement and its corollaries, combined with the diffusion efforts carried by individual, institutional et political brokers whose roles are closely studied in the thesis.

Care work is not a new subject for feminist research. However, it is still important to study because of the persistent social devaluation of care workers. Financial cutbacks, the intensification of work and the general insecurity of the labour market have meant additional challenges for women, who make up the overwhelming majority of those who perform this type of work. Nowadays, women continue to be over-represented in caring and “emotional” work. In this thesis, I focus on home care work as a particular form of care work and aim to analyse care workers’ emotional management and perceptions of their current work situation. The thesis is based on a qualitative study through interviews with night-time home care workers. Building on the theory of “emotional labour” as presented by Arlie Russel Hochschild (1983) in The Managed Heart, this paper argues that working at night poses additional emotional challenges to an already affected workforce. In a time of prominent challenges in Swedish healthcare, care workers must adapt to new ways of dealing with emotions.

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