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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 51 to 55 of 55 (0.008 seconds)| 51 |
De la guivre au crapaud : l'analyse du motif merveilleux du baiser désenchanteur à la bête, dans le roman médiéval et dans le conteLaporte, Jacinthe January 2008 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.
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3D laser scanning as a tool for Viking Age studiesNeiß (Neiss), Michael, Sabrina B., Sholts, Wärmländer, Sebastian K.T.S. January 2013 (has links)
Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010; 2011). In this work, we explore the utility of 3D-modeling as a tool for Viking Age artefact analysis. To test the usefulness of 3D-modeling when analyzing artefacts with a very complex morphology, we chose highly ornate Viking Age baroque shaped brooches as study objects. These baroque shaped brooches constitute a group of dress ornaments mainly encountered in eastern Viking Age Scandinavia. Due to their large cast and/or attached bosses they obtain an almost baroque appearance, hence their name (cf. Jansson 1984: p. 81). They appear in two major versions, i.e. circular or equal armed, and in two kinds of material, i.e. silver- and copper-based alloys. Because of the position of bronze brooches in burial contexts, it appears they were used to fasten the cape or shawl in the female dress (cf. Jansson 1984: p. 75ff., Aagård 1984: p. 96ff.; Neiß 2006, figs. 3, 4; Capelle 1962: p. 106). For the present work a recently excavated brooch from Denmark was analyzed, together with three Russian brooches with nearly iconic status in the field of Viking Age studies. In the three case studies, we investigated possible uses of 3D-modeling for artefact analysis, artefact reconstruction, and tool mark and motif analysis. Exploring the usefulness of 3D-modeling for these purposes allowed us to draw conclusions regarding how 3D-analysis can be best incorporated into future artefact analysis. In addition, the case studies allowed us to gain new insights about the baroque shaped brooches and their uses. / <p>Forskningsfinansiärer: Helge Ax:son Johnsons stiftelse, Svenska institutet (Visby-programmet), Kungliga vitterhets historie och antikvitets akademin (Montelius minnesfond); Svenska fornminnesforeningen</p> / 3D-laserskanning som verktyg vid vikingatidsstudier
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De la guivre au crapaud : l'analyse du motif merveilleux du baiser désenchanteur à la bête, dans le roman médiéval et dans le conteLaporte, Jacinthe January 2008 (has links)
Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
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Interroger l’idéologie du studio Disney par la (re)composition musicale : une approche alternative de l’analyse filmique : La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992)Naëck, Krishvy 03 1900 (has links)
Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et
même si le studio a fait l’objet de nombreuses recherches tant sur des questions
esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet
de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode,
nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention
sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous
semble que, en recourant à la recomposition de la musique de certaines séquences des
films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans
cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Nous
pensons que les lectures préexistantes ont fait le choix de prioriser le récit et que le
déplacement proposé par Stanley Cavell dans sa lecture de King Lear, prêtant la
cohérence au personnage, nous invite, sur le même modèle, à faire une lecture similaire
concernant les films de Disney. Si un geste de recomposition musicale peut nous aider à
penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire
entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par
cela un geste d’analyse critique de son idéologie, et ici particulièrement des rapports de
pouvoir. Recomposer certaines séquences importantes du film, c’est le rééclairer en
reprenant les matériaux musicaux mêmes du compositeur du film (Alan Menken), pour
en redistribuer les emphases — notion à laquelle nous ne donnons pas qu’une valeur
musicale, mais une valeur philosophique, reprenant à Stanley Cavell cette idée qu’une
différence d’accent peut faire toute la différence du monde. La recomposition musicale
met en acte les allers-retours indispensables à la compréhension des séquences que nous
travaillerons : elle redonne corps aux espaces de résonance du film et compose les
affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Elle
aide à réfléchir au film et à ses interactions tout en faisant monter à la surface ladite
promesse dont le film cherchait à bloquer l’actualisation. Ces allers-retours nous
permettent de retrouver l’importance des numéros musicaux à l’intérieur des films dans
lesquelles s’expriment les héroïnes. En prolongeant notre analyse par le prisme de
l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus
précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des
numéros musicaux. L’ensemble de la musique, dans son lien au complexe audio-visuel,
nous permet ainsi de réfléchir aux rapports de pouvoir inscrits dans le film. / From aesthetics to cultural studies, Disney has been the subject of many studies.
Thanks to this prolific research, it is possible de study it by another methodological
angle to understand the ideology of and within the movies. Within the academic field of
film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and
the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of
the original score that we would compose, we may bring the potentiality inscribed in the
movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and
Jasmine. We think that the previous studies of these films made the choice of
prioritising a narrative analysis where ours is to take into account of the character’s
consistency, as does Stanley Cavell in his reading of King Lear. The main idea is to see
this new composition as an alternative version the composer could have come up with,
and to measure how we can go from the recomposition to the original sequence and end
up with another angle for the analysis of the movie. We think that this method will
enable us to take account of the character’s consistency for the music can be a way to
hear the potentiality of a movie (and specifically here, the characters), so it will be an
opportunity to discuss Disney ideology. The musical recomposition of specifics
sequences will help us to point out that the film makes a choice thanks to musical
emphasis — notion that is not only musical but also philosophic, as Stanley Cavell
points out that a difference of emphasis is able to make all the difference in the world.
The musical recomposition enact the back and forth inside the different moments of the
movie to help us understand what is at stake: it enlightens the resonances between the
sequences and compose the surfacing promise initially build-up by the movie towards
the heroine. It also helps us thinking about the movie’s interactions while getting to the
surface the aforementioned promise the movie was trying to stop from actualising.
Going back and forth into the movie thanks to the musical recomposition brings to light
the importance of the musical numbers where the heroines have a space and moment to
express themselves. By extending our analysis through the prism of intermediality, we
consider the porosity of theses musical numbers with the Broadway stage (and more
accurately the off-Broadway) whose enable us to do dual readings of the movie. All the
music in its connexion to the rest of the audio-visual complex enable us to think about
the power relations which occurs in the movie.
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From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films / Från Snövit till Frost : En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmerNyh, Johan January 2015 (has links)
Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods. / <p>Betyg VG (skala IG-VG)</p>
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