The use of Machine Learning (ML) in business has increased significantly over the past years. Creating high quality and robust models requires a lot of data, which is at times infeasible to obtain. As more people are becoming concerned about their data being misused, data privacy is increasingly strengthened. In 2018, the General Data Protection Regulation (GDPR), was announced within the EU. Models that use either sensitive or personal data to train need to obtain that data in accordance with the regulatory rules, such as GDPR. One other data related issue is that enterprises who wish to collaborate on model building face problems when it requires them to share their private corporate data [36, 38]. In this thesis we will investigate how one might overcome the issue of directly accessing private data when training ML models by employing Federated Learning (FL) [38]. The concept of FL is to allow several silos, i.e. separate parties, to train models with the same objective, using their local data and then with the learned model parameters create a central model. The objective of the central model is to obtain the information learned by the separate models, without ever accessing the raw data itself. This is achieved by averaging the separate models’ weights into the central model. FL thus facilitates opportunities to train a model on large amounts of data from several sources, without the need of having access to the data itself. If one can create a model with this methodology, that is not significantly worse than a model trained on the raw data, then positive effects such as strengthened data privacy, cross-enterprise collaboration and more could be attainable. In this work we have used a financial data set consisting of 25242 equity research reports, provided by Skandinaviska Enskilda Banken (SEB). Each report has a recommendation label, either Buy, Sell or Hold, making this a multi-class classification problem. To evaluate the feasibility of FL we fine-tune the pre-trained Transformer model AlbertForSequenceClassification [37] on the classification task. We create one baseline model using the entire data set and an FL model with different experimental settings, for which the data is distributed both uniformly and non-uniformly. The baseline model is used to benchmark the FL model. Our results indicate that the best FL setting only suffers a small reduction in performance. The baseline model achieves an accuracy of 83.5% compared to 82.8% for the best FL model setting. Further, we find that with an increased number of clients, the performance is worsened. We also found that our FL model was not sensitive to non-uniform data distributions. All in all, we show that FL results in slightly worse generalisation compared to the baseline model, while strongly improving on data privacy, as the central model never accesses the clients’ data. / Företags nyttjande av maskininlärning har de senaste åren ökat signifikant och för att kunna skapa högkvalitativa modeller krävs stora mängder data, vilket kan vara svårt att insamla. Parallellt med detta så ökar också den allmänna förståelsen för hur användandet av data missbrukas, vilket har lätt till ett ökat behov av starkare datasäkerhet. 2018 så trädde General Data Protection Regulation (GDPR) i kraft inom EU, vilken bland annat ställer krav på hur företag skall hantera persondata. Företag med maskininlärningsmodeller som på något sätt använder känslig eller personlig data behöver således ha fått tillgång till denna data i enlighet med de rådande lagar och regler som omfattar datahanteringen. Ytterligare ett datarelaterat problem är då företag önskar att skapa gemensamma maskininlärningsmodeller som skulle kräva att de delar deras bolagsdata [36, 38]. Denna uppsats kommer att undersöka hur Federerad Inlärning [38] kan användas för att skapa maskinlärningsmodeller som överkommer dessa datasäkerhetsrelaterade problem. Federerad Inlärning är en metod för att på ett decentraliserat vis träna maskininlärningsmodeller. Detta omfattar att låta flera aktörer träna en modell var. Varje enskild aktör tränar respektive modell på deras isolerade data och delar sedan endast modellens parametrar till en central modell. På detta vis kan varje enskild modell bidra till den gemensamma modellen utan att den gemensamma modellen någonsin haft tillgång till den faktiska datan. Givet att en modell, skapad med Federerad Inlärning kan uppnå liknande resultat som en modell tränad på rådata, så finns många positiva fördelar så som ökad datasäkerhet och ökade samarbeten mellan företag. Under arbetet har ett dataset, bestående av 25242 finansiella rapporter tillgängliggjort av Skandinaviska Ensilda Banken (SEB) använts. Varje enskild rapport innefattar en rekommendation, antingen Köp, Sälj eller Håll, vilket innebär att vi utför muliklass-klassificering. Med datan tränas den förtränade Transformermodellen AlbertForSequence- Classification [37] på att klassificera rapporterna. En Baseline-modell, vilken har tränats på all rådata och flera Federerade modellkonfigurationer skapades, där bland annat varierande fördelningen av data mellan aktörer från att vara jämnt fördelat till vara ojämnt fördelad. Resultaten visar att den bästa Federerade modellkonfigurationen endast presterar något sämre än Baseline-modellen. Baselinemodellen uppnådde en klassificeringssäkerhet på 83.5% medan den bästa Federerade modellen uppnådde 82.8%. Resultaten visar också att den Federerade modellen inte var känslig mot att variera fördelningen av datamängd mellan aktorerna, samt att med ett ökat antal aktörer så minskar klassificeringssäkerheten. Sammanfattningsvis så visar vi att Federerad Inlärning uppnår nästan lika goda resultat som Baseline-modellen, samtidigt så bidrar metoden till avsevärt bättre datasäkerhet då den centrala modellen aldrig har tillgång till rådata.

This work is an effort to investigate the relationship between Albert Camus' philosophic concepts of the absurd presented in "The Myth of Sisyphus" and the Absurdist Theatre as defined by Martin Esslin. Included in this thesis is a discussion of each of the above concepts. Focus is placed upon the characteristics of the Absurdist Theatre which constitute the basis for the label "Absurdity." The conclusion indicates that while the playwright's personal experiences and philosophies correspond to Camus', their plays fail to communicate or express that concept of absurdity satisfactorily. The major emphasis is on the lack of concrete reality used to communicate a concept based upon concrete reality.

Pražské nemocnice v letech 1948-1968 Ing. Mgr. Kateřina Murtingerová Summary: This work presents a development of Prague hospitals during 1948 and 1968. The first part of my thesis describes theoretical and historical background of health care provision in the first half of the 20st century and it is focused on development of Czech healthcare system. This part of thesis also includes reform plans and concepts proposed during the first republic and the Second World War, with special attention to Albert and Nedvěd's plans playing a key role in setting of healthcare provision after the year 1948. The second part of this thesis is based on legislative and institutional analysis after the Second World War that was developing hand in hand with social, political, and economic changes in Czechoslovakia. Important part of this capture is also an assessment of the results of health care provision during 1948-1968 from the perspective of the whole country, including structure and availability of hospital care, demographic trends and population health trends, expenditure of health care provision and preventive measures etc. Thesis also includes historical overview of academic environment. The issue of Prague hospitals and hospital care is framed in the context of institutional and legal framework of health care system...

La thèse a pour objet l'étude approfondie d'une série de huit tableaux monumentaux intitulée "Les Festivités du papegai en 1615 à Bruxelles". Exceptionnelle par le type de sujet et par le format, cette série fut commandée par les archiducs Albert et Isabelle (1598-1621) à leur peintre Denijs van Alsloot (1568 ?-1625/26) afin de célébrer la victoire de l'infante au tir de l'oiseau de bois (le "papegai") du Grand Serment des arbalétriers à Bruxelles. Elle est aujourd’hui incomplète, mais la confrontation des sources écrites avec les tableaux subsistants (en ce compris quelques répliques et variantes) permet d’établir qu’elle se composait à l'origine de six toiles ayant pour objet l’Ommegang communal – qui eut lieu le 31 mai 1615 et fut placé sous le signe de l’exploit de l’infante –, d’une peinture représentant "Isabelle tirant l’oiseau", et d’une toile montrant une "Fête au Vivier d’Oie en présence des archiducs", dans la forêt domaniale de Soignes. <p> Sans doute en raison de leur aspect descriptif, les tableaux conservés n'ont jamais été soumis à une analyse qui prenne en compte leur spécificité artistique, la plupart des chercheurs s'étant contentés jusqu'à présent d'examiner les spectacles dépeints dans une perspective historique. La thèse propose dès lors une étude qui non seulement repose sur une analyse des sources écrites et cherche à identifier les motifs représentés, mais aussi explore les composantes formelles, techniques et conventionnelles des peintures. Ceci afin, précisément, de mieux définir le rapport entre l’image donnée et la réalité des faits historiques. Car si les "Festivités" n'ont nullement valeur de reportage, leur raison d’être n’en a pas moins été de témoigner par le menu détail de certains événements. Et c’est très exactement la nature de ce témoignage, formulé avec les moyens propres à la peinture, qui est au cœur du questionnement. <p> La thèse se compose de deux parties. Dans la première partie, l'attention est portée sur la vie et la production de Denijs van Alsloot en général. Le peintre avait en effet été peu ou mal étudié jusqu’à présent. Or, de toute évidence, une meilleure connaissance de l’ensemble des activités artistiques de Van Alsloot permet d’aborder avec plus de justesse l’étude des "Festivités". Plusieurs éléments de la carrière de l'artiste furent en outre déterminants dans le choix d’Albert et Isabelle de faire appel à ses services pour la réalisation de la série. <p> La seconde partie se concentre sur l'examen des "Festivités". Le premier chapitre fait le point sur ce que les archives nous apprennent à propos de la commande et de l’historique des peintures originales comme des répliques et des variantes. Le second chapitre analyse la technique et le style de chacun des tableaux. Il vise également à reconstituer les étapes préparatoires dans la réalisation des peintures et à définir la nature des rapports entre les tableaux du point de vue de l’exécution. Une attention particulière est en outre portée à l'intervention comme sous-traitant du peintre Antoon Sallaert (1594-1650). <p> La signification politique des tableaux constitue le thème du troisième chapitre. Sont étudiés d'abord les circonstances historiques qui amenèrent Isabelle à participer au tir du Grand Serment et la cour à commander la série peinte des "Festivités". Le cadre d’origine des toiles est examiné ensuite, afin de mesurer l’influence potentielle de ce cadre sur la forme et le contenu des œuvres. Car si celles-ci contiennent une foule de renseignements valables sur les célébrations, il n’en demeure pas moins qu’il ne peut s’agir d’images objectives. Les "Festivités" servaient des intentions particulières qui ont amené les artistes à opérer des choix et à soumettre les scènes à des structures iconographiques signifiantes. C’est donc à déchiffrer et à interpréter la "rhétorique de l'image" que la thèse s'attache en dernier lieu. <p> En définitive, par la réévaluation d'un type particulier d'iconographie politique, l'auteure de la thèse espère contribuer aux travaux toujours plus nombreux sur le rôle de l'image dans l'élaboration du discours princier.

Using Gillian Beer's suggestion that literature and science 'share the moment's discourse' (Open Fields, 1996), this thesis explores the ideas associated with Albert Einstein's three revolutionary 1905 papers, examining the ways in which similar concepts appeared across disciplines during the early part of the twentieth century, and focusing in particular on their manifestation within the literary works of Virginia Woolf and D. H. Lawrence. The study seeks to distinguish between instances of direct influence and a shared contemporary discourse, arguing that the analysis of both is essential to studies within the field of literature and science. Part I focuses on concepts of duality and complementarity, considering Max Planck's introduction of the quantum, Einstein's development of light quanta, Louis de Broglie's wave-particle duality and Niels Bohr's principle of complementarity. It analyses other contemporary discussions of duality and complementarity, and explores Virginia Woolf's attempts to simultaneously express both sides of dualistic models, suggesting that Woolf is a complementary writer. Part II focuses on Einstein's theories of relativity, exploring D. H. Lawrence's adoption thereof in Fantasia of the Unconscious (1922), in particular his claim that 'we are in sad need of a theory of human relativity'. It argues that this proposed theory is directly relevant to Lawrence's fictional works, both those that precede Fantasia and those that follow it. It also analyses the impact on Lawrence of contemporary ideas of relativism, especially those of William James as expressed in Pragmatism (1907). Part III explores the ways in which both Woolf and Lawrence write about individuals within crowds. It considers the possible links between such scenes and Einstein's paper on Brownian motion as well as contemporary studies of crowd psychology. It suggests that individual characters within modernist works can be considered as similar to the individual particles suspended in a mass which exhibit Brownian motion.

Mon intérêt pour les Sciences humaines, les domaines culturels et sociologiques de l'unification de l'Europe, et mon amour pour les langues ainsi que pour d'autres cultures, m'ont influencé dans l'orientation que j'ai donnée à mes études. Ces centres d'intérêts m'ont conduit tout naturellement à l'examen des changements politiques, sociaux et humains survenus en Alsace, au lendemain de la dernière guerre, alors que s'amorçait l'unification européenne. L'Alsace me paraissait être l'endroit idéal pour observer comment deux cultures différentes contraintes par la Géographie et l'Histoire à s'affronter, pouvaient en se réconciliant constituer le creuset de cette Europe en devenir... L'expression « retour », que j'ai volontairement mise entre guillemets, peut paraître paradoxale, équivoque, voire un peu provocatrice dans l'intitulé de ma thèse. Elle sera au centre des réflexions qui se pencheront successivement sur les urgences de l'immédiat après-guerre, ses conséquences humaines et matérielles, ses reconstructions tant économiques que psychologiques. Ce travail a été enrichi entre autres grâce aux archives personnelles - jusqu'à là inédites- d'Albert Ehm, éminent homme politique et intellectuel alsacien dont le rayonnement humaniste dans les années d'après-guerre, a été particulièrement sensible. Albert Ehm sera un peu le fil conducteur de cette thèse, dans la mesure où il est intervenu pratiquement sur tous les sujets qui y sont évoqués. / My interest in Humanities, cultural and sociological phenomena of the unifying Europe, and my love for languages and other cultures have influenced the choice of the field of my studies. These interests led almost automatically to the consideration of political, social and personal changes in Alsace-Lorraine since that is the place were two different cultures are forced by geography and history to connect, compete and overlap. My thesis focuses on Alsace after the Liberation (1944-1951) when politics, education and culture were the subjects of crucial discussions by the population at large, the administration and politicians.

Made available in DSpace on 2016-04-28T19:58:54Z (GMT). No. of bitstreams: 1 Guilherme Sardas.pdf: 756009 bytes, checksum: 53ce6a4aaaedce44ff2bbdda33b56e3b (MD5) Previous issue date: 2014-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Many short stories of Murilo Rubião (1916-1991) bring actions and situations generally perceived as absurd, which analyzed thoroughly, can be considered representations of the feeling of estrangement of man in the world and the emptying of meaning of modern experience. The critics often associate the fantastic typical of the author to the category of absurd. But what characterizes the absurd universe created by Rubião? This research aims to investigate the construction of the absurd in work of Rubião, both thematically and discursive. The theoretical basis for this work is the absurd philosophy, present in the essay The myth of Sisyphus, by Albert Camus, and some ideas and concepts of Jean-Paul Sartre s existentialism. Considering this, we seek to demonstrate how is the dialogue between the short stories of Rubião and the absurd according thoughts of these philosophers of existence. Parallel to the study of this theme on construction of the absurd by Rubião, will seek to analyze the use of the tools of language to create this absurdity or, in other words, the creation of a poetic of the absurd in writing of the author. While the absurdity of Rubião dialogues with ideas of the philosophy of existence, it has also important differences in some points of the dramatic content of existential and existentialist literature, presenting ironic, comic and fantastic forms. Analyze how Murilo Rubião demarcates the peculiarities of its absurdity and the relations of this absurdity with the procedures of the modern fantastic are also motivations of this research / Muitos contos do escritor mineiro Murilo Rubião (1916-1991) trazem ações e situações entendidas, no geral, como absurdas que, analisadas de forma mais detida, são representações do sentimento de estranhamento do homem diante do mundo e do esvaziamento de sentido da experiência moderna. São narrativas que levam a crítica especializada a associar o fantástico típico do autor à adjetivação ou categoria do absurdo. Mas, o que caracteriza e para onde aponta o universo absurdo criado por Rubião? Esta dissertação visa investigar a construção do absurdo na obra muriliana, tanto no âmbito temático, quanto discursivo. Elegendo como base teórica a filosofia do absurdo de Albert Camus, presente no ensaio O mito de Sísifo, além de algumas ideias e conceitos existencialistas de Jean-Paul Sartre, buscaremos apontar um possível diálogo entre os contos de Rubião e o absurdo de Sartre. Paralelamente ao estudo dessa construção temática do absurdo em Rubião, realizamos uma análise da linguagem nesse processo criativo - ou, em outras palavras, como é construída uma poética do absurdo na escrita do autor. Ao mesmo tempo em que o absurdo de Rubião dialoga com ideias da filosofia da existência, também se afirma como componente de uma obra autêntica, que destoa em alguns pontos do teor dramático da literatura existencial e existencialista, apresentando-se como formas irônicas, cômicas e fantásticas. Analisar Murilo Rubião nas peculiaridades do absurdo poético bem como suas relações com os procedimentos do fantástico moderno serão também motivações de nossa pesquisa

by Mak Mei Kwan Alisa. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 108-115). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgements --- p.v / Chapter Chapter One: --- The Displaced Man --- p.1 / Chapter Chapter Two: --- The Fragmented Self in Xiguan siwang [Getting Used to Dying] --- p.19 / Chapter Chapter Three: --- Death of the Author: An Abandoned Beingin Malone Dies --- p.46 / Chapter Chapter Four: --- Death of Sharing: A Man of Authenticityin The Outsider --- p.67 / Chapter Chapter Five: --- Conclusion: The Helplessness of Life --- p.94 / Works Cited --- p.108 / Works Consulted --- p.115

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Este trabalho é um debruçar-se sobre a relação entre o texto camusiano, as ilustrações de José Muñoz e a edição de Didier Gonord, que fundem-se em um sentido próprio na obra híbrida O estrangeiro (2012), editada pela Futuropolis/Gallimard em ocasião do centenário de nascimento de Albert Camus. Ao leitor desta dissertação é apresentado um percurso analítico que abarca em si aspectos da sensibilidade, posto o objeto de trabalho ser de ordem estética – e portanto, do campo do sensível. Interessa-nos aqui uma investigação sobre os processos de construção de sentido que atravessam esta obra como um todo, tendo em vista, além da tríade texto verbal-imagem-edição, também as cruciais relações estabelecidas entre sujeito-leitor e a obra. Nosso objetivo é traçar uma análise de O estrangeiro (2012) enquanto obra híbrida, focando o olhar nas relações entre o texto literário e a imagem. A partir de Barthes, e seguindo uma perspectiva semiótica francesa greimasiana, trazemos à baila definições de Texto, obra e sentido. Buscamos em Merleau-Ponty um olhar sobre a noção relacional da construção de sentido de uma obra estética para discutirmos também os processos de vincuação que nela são postos. Em seguida, por uma via de análise discursiva apoiada em Fiorin, analisamos a composição e funcionamento do discurso posto em cena por meio do Percurso Gerativo de Sentido, ferramenta metodológica-discursiva que possibilita a decomposição da estrutura textual a fim de obter uma visão não só do todo, mas das partes em específico que o compõem. Apresentamos um caminho de análise que seguem por perspectivas relacionais e construímos esta investigação a partir das estruturas básicas de composição da obra, quais sejam: o fazer-se em preto e branco e o expressar-se em palavra e imagem. Por fim, examinamos nosso objeto enquanto forma no intuito de elucidarmos as diferenças entre obra ilustrada e obra com ilustração. Nosso último movimento de análise é evidenciar a expansão do texto verbal operada pelas imagens, ou seja, o modo como elas mostram aos olhos o teor, a idea de cada quadro, ou seja, de cada página dupla. / This dissertation looks over the relationship between the Camusian text, the illustrations of José Muñoz and the edition of Didier Gonord, which fuse in a proper sense in the hybrid work L’étranger (2012), edited by Futuropolis / Gallimard by the occasion of the centenary of Albert Camus's birth. To the reader of this dissertation is presented an analytical course that covers in itself aspects of the sensibility, since the work's object belongs to the aesthetic realm - and, therefore, to the realm of the sensible. We are interested in an investigation of the processes of construction of meaning that go through this work as a whole, in addition to the verbal text-image-editing triad, as well as the crucial relations established between subject-reader and the work. Our objective is to draw an analysis of L’étranger (2012) as a hybrid work, focusing on the relations between the literary text and the image. Starting from Barthes, and following a French Greimasian semiotic perspective, we bring definitions of Text, work and meaning. In Merleau-Ponty, we look at the relational notion of the construction of meaning in an aesthetic work to discuss also the relational processes that are put in it. Then, following a path of discursive analysis based on Fiorin, we work the composition and functioning of the discourse put on the scene through the Gerative Path of Sense, a methodological-discursive tool that enables the decomposition of the textual structure in order to obtain a vision not only of the whole, but of the specific parts that make it up. The ways of analysis follow relational ways, as we investigate the basic structures of composition of the work, namely: to be constructed in black and white and to be expressed in word and image. Finally, we examine our object as form to elucidate the differences between illustrated work and work with illustrations. Our last movement of analysis is to show the expansion of the verbal text operated by the images, the way they show to the eyes the content, the idea of each picture, that is, of each double page.

Made available in DSpace on 2016-04-27T17:27:27Z (GMT). No. of bitstreams: 1 Gabriel Ferreira da Silva.pdf: 726534 bytes, checksum: 92f9c566b8707004c645fea038abb51a (MD5) Previous issue date: 2009-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study aims to reveal the existential analysis undertaken by Albert Camus in sight of the constitution, in his thought, of an éthos that corresponds to the therms of the human demand for sense that is recognized as frustrated. Since his essay Le Mythe de Sisyphe posits as its fundamental problem the suicide as a possible action originated from the question for the sense of the existence, we must follow the development of the camusian construction of his anthropological discourse which has as its centre the notion of Passion in its three expressions -, as well as on the human condition that shows itself as opposite to the complete achievement of the human desire, featuring human experience as Absurd. Therefore, the question for the legitimacy of the suicide becomes even more radical. However, the distinguishing mark of the camusian thought is exactly the disbelief towards the human condition but an affirmation of the human desire for sense. Thus, after the invalidation of the suicide as a correlative práxis to the observation of the existential absurdity, it is necessary to develop an ethos of simultaneously confrontation of the human condition based on a deep acceptance of the Passion. Therefore, we follow the analysis of the three types or figures that express such attitude towards that one which, for Camus, properly embodies all the demands and limits of human Revolt: The Artist-Creator whose actions identifies fully with the revolted one s in the task of assynthotically modeling his existential experience intending to correct, within its own limits, the absurd condition, making the proposed camusian éthos for excelence an authentic aesthetic of the existence / Este trabalho tem por objetivo explicitar a análise existencial empreendida por Albert Camus em vista da constituição, em seu pensamento, de um éthos que seja correspondente aos termos da demanda humana por sentido que se reconhece como frustrada. Dado que seu ensaio Le mythe de Sisyphe postula como problema fundamental o suicídio como possível atitude derivada da pergunta pelo sentido da existência, devemos acompanhar o desenvolvimento da construção do discurso antropológico camusiano que possui como seu centro a noção de Passion em suas três manifestações , bem como sobre a condição humana que se mostra oposta à efetivação completa do desejo humano, configurando a experiência do homem como Absurda. Assim, a pergunta pela legitimidade do suicídio se radicaliza ainda mais. Entretanto, a marca do pensamento camusiano é justamente a descrença para com a condição do homem mas uma afirmação do valor do desejo humano por sentido. Dessa forma, após a refutação do suicídio como práxis correlata à constatação de absurdidade existencial, há a necessidade de se elaborar um éthos de simultâneo enfrentamento da condição humana a partir de uma aceitação profunda da Passion. Com isso, seguimos as análises dos tipos ou figuras que manifestam tal postura até aquela que para Camus encarna propriamente todas as exigências e limites da Revolta humana: o Artista-Criador cujo fazer se identifica plenamente com o do revoltado na tarefa de modelar assintoticamente sua experiência existencial a fim de corrigir, dentro de seu limites próprios, a condição absurda, fazendo da proposta de éthos camusiana por excelência uma autêntica estética da existência