Este trabalho objetiva investigar e compreender sobre os câmbios estéticos da figura do anjo na publicidade e suas inúmeras significações representadas simbolicamente em campanhas e anúncios. Por ser objeto de estudo ressurgente, o anjo torna-se mito atemporal, que transpassa os séculos, atualizando-se como imagem, a fim de adaptar-se aos preceitos da contemporaneidade. Em face disso, esta produção científica será embasada em pesquisa teórica e qualitativa obtendo resultados através da coleta de anúncios retirados de meios impressos e internet, tendo como suporte antropológico a História da Arte e consequentemente o campo da Estética da Comunicação. Visa, dessa forma, compreender o mito alado e seu desmembramento em arquétipos, de maneira que permita analisar a utilização do símbolo como linguagem, pois ao permitir que a leitura do mundo seja realizada através do seu constante ressurgimento como mito, o anjo se recontextualiza através de mudanças estéticas, buscando tornar-se sempre atual para a sociedade, sendo representado imageticamente de distintas formas na publicidade. / This study has the objective to investigate and understand about the aesthetic changes at Angel figure in the advertising and its many meanings, represented symbolically in campaigns and ads. By be object of study resurgent, the angel becomes timeless myth that pierces the centuries and has been updated as image in order to adapt to the precepts of contemporary times. On the face of it, this scientific output will be grounded in research theoric and qualitative, through getting results by collecting removed ads from printed and internet media, having as anthropological support the Art history and consequently the field of Aesthetics of Communication . Visa thus understand the winged myth and its dismemberment in archetypes, so that the analysis of the use of this symbol as language, can allowing the reading of the world through of its constant resurgence as myth, this way the angel is recontextualised through changes aesthetic, seeking to become ever present to society and be represented imagetically in different ways in the advertising.

Full Waveform Inversion (FWI) is a non-linear optimization problem aimed to estimating subsurface parameters by minimizing the misfit between modeled and recorded seismic data using gradient descent methods, which are the only practical choice because of the size of the problem. Due to the high non-linearity of the problem, gradient methods will converge to a local minimum if the starting model is not close to the true one. The accuracy of the long-wavelength components of the initial model controls the level of non-linearity of the inversion. In order for FWI to converge to the global minimum, we have to obtain the long wavelength components of the model before inverting for the short wavelengths. Ultra-low temporal frequencies are sensitive to the smooth (long wavelength) part of the model, and can be utilized by waveform inversion to resolve that part. Unfortunately, frequencies in this range are normally missing in field data due to data acquisition limitations. The lack of low frequencies can be compensated for by utilizing wide-aperture data, as they include arrivals that are especially sensitive to the long wavelength components of the model. The higher the scattering angle of a 5 recorded event, the higher the model wavelength it can resolve. Based on this property, a scattering-angle filtering algorithm is proposed to start the inversion process with events corresponding to the highest scattering angle available in the data, and then include lower scattering angles progressively. The large scattering angles will resolve the smooth part of the model and reduce the non-linearity of the problem, then the lower ones will enhance the resolution of the model. Recorded data is first migrated using Pre-stack Exploding Reflector Migration (PERM), then the resulting pre-stack image is transformed into angle gathers to which an angle filtering process is applied to remove events below a certain cut-off angle. The filtered pre-stack image cube is then demigrated (forward modeled) to produce filtered surface data that can be used in waveform inversion. Numerical tests confirm the feasibility of the proposed filtering algorithm. However, the accuracy of the filtered section is limited by PERM’s singularity for horizontally-traveling waves, which in turn is dependent on the velocity model used for migration and demigration

This Ph.D. thesis examines characteristics of Business Angel investors in the Czech Republic and their attitudes to evaluation of investment projects. The research is based on primary data obtained by interviewing active Business Angel investors operating in the Czech Republic. The characteristics of Business Angel investors and their attitudes in investment decision making and subsequent monitoring of investments are analysed. Business Angel investors were also asked how they perceive external environment. The topics and questions listed in the interviews result from a systematic literature review. Based on the results of the interviews, an elimination model was developed to capture the preferences of individual Business Angel investors. The model represents a tool supporting entrepreneurs while determining the probability that their project will not be rejected without a deeper examination. Therefore, the model supports entrepreneurs to set the parameters of their projects to increase the likelihood that a Business Angel investor will undergo a detailed due diligence process.

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Business angels are an important source of funding for new companies in need of external capital, since they usually are the first to invest in new companies. Therefore, it is valuable to study how business angels manage their investment process, both before and after the investment has been completed. As more investments are made, experience is gained and applied to the next investment process. Previous research has studied how other experience, such as education and entrepreneurial experience, affects parts of the investment process. The purpose of this study is to describe the investment process of business angels in Sweden and analyse how it differs depending on how many investments they have previously made, that is what investment experience they have. Finally, the purpose of the study is to develope a model to describe how the investment experience affects the investment process.  The study is based om an abducitve research approach and a qualitative research method. Empirical data has been collected with eleven interviews and two email conversations, and the respondents consist of business angels in Sweden who have made between one and 20 investments in new companies. The interviews conducted were semi-structured and of a narrative nature. The analytical method used to analyse the empirical data is the Gioia-method.  The conclusions of the study are that the investment process consists of five stages; deal flow, screening & investment criteria, negotiation, active ownership and exit. Further in the conclusion, the similarities and differences that exist in the investment process of business angels with more and less investment experience are presented. As experience is gained, business angels get a bigger and better deal flow based on informal contacts instead of formal networks. For business angels with more experience, the process is slower and they make a more accurate assessment of the company and, above all, the entrepreneur. Business angels with more experience find negotiations easier and they are more involved than those with less experience. Experience has an impact on active ownership, where more experienced business angels value taking an altruistic role in the company and the less experienced business angels consider themselves above all to take a value-creating role and contribute resources to the company. Business angels with more experience have a more dynamic view of exit, and business angels with less experience have a more static view of exit. It can be stated that investment experience has an impact on all stages of the investment process.

Under de senaste decennierna har riskkapitalmarknaden utvecklats och har idag lagt grunden till bolag som Spotifys framgångssaga. Samtidigt som riskkapitalmarknaden har utvecklats den digitala utvecklingen i banksektorn riskerar att göra det svårare för nystartade bolag att finansiera sig via lån. Två aktörer på riskkapitalmarknaden som på senare tid har börjat likna varandra i sitt sätt att arbeta är affärsänglar och Venture Capital bolag. Tidigare har aktörerna inte samarbetat med varandra utan gått in i investeringar i olika skeden. Detta har föranlett en viss konkurrens mellan aktörerna, samtidigt som det finns ett beroendeskap mellan partnerna. Affärsänglar är beroende av VC-bolag för att göra exits, medan VC-bolag är beroende av affärsänglar för att ha ett bra deal flow. Samtidigt som affärsängel-investeringar förväntas dominera marknaden i framtiden. Detta leder oss till syftet av denna studie som är att analysera hur ett Venture Capital bolag kan inkludera ett affärsängelnätverk i sin affärsmodell. Studien har genomförts i samarbete med Sörmlandsfonden och utgått från tidigare forskning för att analysera ett nytt perspektiv på hur riskkapitalmarknadens aktörer kan arbeta. Genom kvalitativa semi-strukturerade intervjuer möjliggjordes en djupgående analys över affärsmodellen från investerarnas perspektiv. Respondenterna var Sörmlandsfondens vd och affärsänglar som medverkar i Sörmlandsfondens tillhörande affärsängelnätverk. Affärsänglarna hade olika erfarenheter av investeringar inom konstellationen. För att affärsänglar och Venture Capital ska vara villiga att investera tillsammans identifieras flera faktorer där kapital, anpassning och relationer står i centrum. Anpassning konstateras utifrån respondenternas svar vara den främst avgörande faktorn för att aktörerna ska vilja investera tillsammans. Om inte affärsänglarna anpassar sig efter Sörmlandsfondens krav och vice versa hade båda aktörerna troligtvis vänt sig till någon annan, och de hade inte varit möjligt att investera tillsammans. Samtidigt som förtroende till varandras kompetens och kunskap har framkommit vara en av de främsta anledningarna till att de fortfarande medverkar i konstellationen. / During the recent decades, the venture capital market has developed and have been essential for companies such as Spotify’s success. At the same time as the venture capital market has developed, restrictions have been added from the banking sector where the digitalization make it difficult to finance start-up companies through loan. Two parties in the venture capital market, business angels and venture capital firms, have begun to resemble each other in their way of working. The parties have not previously collaborated because they have invested in different stages. This has given rise to some competition between the parties, at the same time as there is a dependency between them. Business angels depend on Venture capital to make an exit, while Venture capital depend on Business angels to have a good deal flow. Also, there is an expectation that business angel will dominate the future venture capital market. This leads to the purpose of this study, which is to analyze how venture capital can include a Business Angel Network (BAN) in their business model. The study was carried out in collaboration with Sörmlandsfonden and was based on previous research to analyze a new alternative on how the venture capital markets parties can operate. Through qualitative semi-structured interviews an in-depth analysis of the business model from the investor’s perspective was possible. The respondents where Sörmlandsfonden’s CEO and business angels from Sörmlandsfonden’s BAN with different experience in operating within this constellation. For Business angels and Venture capital to be willing to invest together, several factors were identified, which can be explained within three areas: capital, adaption, and relationships. Adaption is stated, based on the respondents’ answers, to be the mainconclusive factor for the willingness to invest together. If the Business angels did not adapt to Sörmlandsfonden’s requirements and vice versa they would not be able to invest together, since both parties would probably turn to another organization structure. At the same time, trust in each other’s competence and knowledge has emerged as one of the main reasons to why they still participate in the constellation.

Em fins do século XIX um jovem empresário estadunidense fundou uma empresa exportadora de bananas na República da Costa Rica: a United Fruit Company. Mesmo que o comércio de bananas e outras frutas tropicais tenha representado apenas uma parte dos produtos exportados pelos países da América Central a exportação de café, por exemplo, sempre foi mais significativa , as companhias bananeiras foram eternizadas por diversos romancistas em alguns dos países centro-americanos em que atuaram. Este trabalho pretende mostrar a trilogia bananeira: Viento fuerte (1949), El Papa verde (1954) e Los ojos de los enterrados (1960) do escritor guatemalteco Miguel Angel Asturias, como uma possibilidade de representação da história da United Fruit Company na Guatemala. Utilizando romances como fonte histórica e realizando a articulação entre o discurso literário e o discurso histórico, a intenção é mostrar a interpretação de Asturias sobre a ação desta multinacional em seu país. Problematizando o encontro entre ambos os discursos e fazendo dialogar a informação histórica sobre o ocorrido e o tratamento literário que Asturias dá a esses mesmos fatos em sua trilogia bananeira. / In the end of the XIX Century a young American enterpreneur founded in the Republic of Costa Rica a company to export banana: the United Fruit Company. Even though the banana commerce and other tropical fruits had represented only a part of the exported products by the Central America countries the coffee export for instance has always been more significant the companies that traded bananas were eternalized by a great variety of novelists in some Central American countries were they acted. This work aims to show, as a possibility to represent the History of the United Fruit Company in Guatemala, the books that composes the Banana Trilogy: Viento fuerte (1949), El Papa Verde (1954) and Los ojos de los enterrados (1960) from the Guatemaltec writer Miguel Angel Asturias. Using novels as a historic source and accomplishing the joint between the literary and historic speech, the intention is to show the interpretation of Asturias concernig the action of this muitinational company in his country, to open debate between both speeches and to articulate the historic information and the treatment that Asturias gives to this information in his Banana Trilogy books.

<p>Uppsatsens syfte är att analysera hur genus är konstruerat i fyra relationer i TV-serierna Buffy och vampyrerna och Angel. Målet är att ta reda på om karaktärerna har en traditionell, delad eller omvänd genuskonstruktion. Uppsatsen kommer att undersöka både hur maskulinitet och femininitet är konstruerat textuellt och hur relationerna uppfattas av en grupp fans. Studien kommer att redogöra för skillnader och likheter mellan de fyra paren. Paren som ingår i analysen är Buffy & Angel, Willow & Tara, Buffy & Spike liksom Angel & Cordy.</p><p>Studien är baserad på feministiska teorier av Liesbet Van Zoonen, Judith Butler och Lena Gemzöe. Men kommer också att inkludera en tillbakablick på hur genus representerades på TV under 1970 och 1980-talet som är presenterat av Barrie Gunter och hur uppfattningen av genus har ändrats sen dess. Några specifika teman som kommer att analyseras i uppsatsen är tv våld, sexualitet och egenskaper som anses mer manliga eller kvinnliga. Göran Erikssons teorier om receptionsstudier spelar också en viktig roll i detta kapitel. Teorikapitlet innehåller dock även några teorier om fankultur av John Fiske, Henry Jenkins, Lawrence Grossberg, John B. Thompson och Joli Jenson.</p><p>Metoden som används i uppsatsen är att göra en receptionsstudie med två lika stora delar. Den första delen är en semiotisk text analys baserad på teorier om TV koder av John Fiske. De valda koderna är utseende, kamera, handlingar och ljud och dialog. Urvalet för den semiotiska text analysen var totalt 35 scener från elva avsnitt av serierna. Den andra delen utgjordes av en kvalitativ intervjustudie med 16 fans av serierna och är baserad på metoder av Thomas R Lindlof och Larsåke Larsson. Metodkapitlet tar också hänsyn till några metodproblem och etiska frågor som uppstår när man intervjuar människor för en studie.</p><p>Uppsatsens semiotiska analys visade att TV koderna ger Buffy & Angel och Cordy & Angel en traditionell genus konstruktion där hon är kvinna och han är man. Även fast karaktärerna också har vissa drag som normalt tillskrivs det andra könet. Karaktären Buffy i synnerlighet har en delad genuskonstruktion, då hennes manliga sida kommer ut i hennes relation med Spike. Buffy & Spike och Willow & Tara har en delad genuskonstruktion där Willow och Buffy har flest manliga drag. Koderna av utseende och kamera reproducerar patriarkat mest medan koder som ljud, dialog, händelser och narrativ ger en mer komplex delad genuskonstruktion. Intervjustudien visade att de flesta fansen delade min tolkning av karaktärernas genuskonstruktion, men att de mediala texterna är öppna för motsatta och förhandlade tolkningar med. Det fanns vissa skillnader från mina tolkningar då fansen tillskrev Spike högre nivåer av kvinnlighet och Willow mer maskulinitet än jag gjort. Deras uppfattning av de specifika paren varierar också mycket beroende på deras egna åsikter och värderingar och alla fansen gör en tolkning som de föredrar.</p><p>Mina resultat ger stöd till tidigare forskning om genus på Buffy av Arwin Spicer, Susan A. Owens och Frances Early. De ger också stöd till tidigare forskning om fankultur och jag tycker att teorierna av John Fiske och Liesbet Van Zoonen i synnerlighet har varit användbara under uppsatsskrivandet. Trots att karaktären Buffy är mer kvinnlig än man först hade kunnat tro och att vissa fördomar lever kvar sedan 1970-talet så har Buffy hjälpt till att utveckla tv-landskapet. Intervjupersonerna i den här uppsatsen accepterar homosexualitet på TV. Serien visar även att det är okej för kvinnor att slås tillbaks och skickar ut ett feministiskt meddelande i det avseendet att intervjupersonerna anser att kvinnlig frigörelse är en bra sak och att Buffy är en förebild. För fortsatta studier vore det intressant att ta reda på hur feministiska nyare TV-serier är och vilken effekt serier som Buffy haft på den generationen som växte upp medan de tittade på den.</p>