Abstrakt: Arbetsprov utförs i syfte att undersöka hjärtats funktion under belastning. Under underökningen registreras elektrokardiografi (EKG) på bar överkropp med hjälp av EKG-elektroder. För kvinnliga patienter kan cyklingen med bar överkropp utan stöd i form av BH upplevas som obehagligt. Idag används det olika sorters elektroder vid olika kliniker. En tidigare studie visade att sugelektroder som användes vid koppling av EKG under arbetsprov då kvinnliga frivilliga deltagare hade mjuk sport–BH inte gav några signifikanta EKG– störningar jämfört med om deltagarna genomförde arbetsprov utan sport-BH. Syftet med denna studie var därför att undersöka om en mjuk sport-BH orsakar störningar på EKG med engångselektroder jämfört med arbetsprov utfört utan sport-BH. Vid registrering av EKG kan olika störningar uppstå. Dessa störningar kan vara i form av muskelstörningar, bero på elektrodglapp eller växelströmstörningar. Utvärderingen av EKG-störningarna baserades på analys av 20 olika EKG–remsor från 10 frivilliga kvinnliga deltagare. Analysen utfördes med hjälp av sammanställda värden för QRS– och QT-durationerna samt amplituderna för R- och T–vågen. Samtliga EKG-registreringar bedömdes visuellt, avseende störningsnivå, av en läkare. Därefter genomfördes ett statistiskt tvåsidigt test med hjälp av Wilcoxons teckenrangtest. Resultatet visade att amplituderna inte påverkades vid användning av sport–BH, Resultatet visade att amplituderna inte påverkades vid bärandet av sport–BH, dock så avvek QT–tiden från resterande värden. Artefakter i form av svaga baslinjestörningar detekterades vid maxbelastning vid användning av sport–BH men även utan. Utifrån den statistiska analysen av den visuella bedömningen av störningsnivåerna drogs slutsatsen att inga signifikanta skillnader på EKG–registreringarna förekom mellan undersökningarna. / Abstract: Exercise tests are performed in order to examine the heart function under exertion. Electrocardiography (ECG) is recorded using ECG electrodes attached to the chest. For female patients, cycling bare-chested without support in the form of a bra may be perceived as uncomfortable. Today, different types of electrodes are used in different clinics. A previous study showed that suction cup electrodes used to register ECG during exercise tests when female participants had soft sports bra did not give significant ECG interference compared with performing exercise tests without it. The aim of the present study was to investigate whether a soft sports bra causes disruptions in the ECG with disposable electrodes compared to exercise tests performed without a sports bra. Different errors can occur during the registration of an ECG such as somatic tremors artifact, due to baseline sway or electrical interference. The evaluation of the ECG disorders was based on analysis of 20 different ECG from 10 female participants. The analysis was made in compiled values for the QRS and QT durations as well as the amplitudes for the R and T waves. All ECG recordings were visually assessed by a physician in regard of noise quality. Subsequently, a statistical two-sided test was performed using Wilcoxon's character rank test. The results showed that the amplitudes were not affected by wearing of sports bra, however the QT– time differed from the remaining values. Interference in form of minor baseline disorders were seen at maximum workload in in both tests. Based on the statistical analysis by the visual analysis of the ECG noise levels, it was concluded that no significant differences on the ECG registrations were found between the tests.

There are a number of available statistical methods for adaptive designs, among which the combination method of Bauer and Kohne's (1994) is well known and widely used. In this work, we revisit the the Bauer-Kohne method in three ways: overall FWER control for single-hypothesis in a two-stage adaptive design, overall FWER control for two-hypothesis in a two-stage adaptive design, and overall FDR control for multiple-hypothesis in a two-stage adaptive design. We first take the Bauer-Kohne method in a more direct manner to have more flexibility in the choice of the early rejection and acceptance boundaries as well as the second stage critical value based on the chosen combination function. Our goal is not to develop a new method, but focus primarily on developing a comprehensive understanding of two-stage designs. Rather than tying up the early rejection and acceptance boundaries by considering the second stage critical value to be the same as that of the level á combination test, as done in the original Bauer-Kohne method, we allow the second-stage critical value to be determined from prefixed early rejection and acceptance boundaries. An explicit formula is derived for the overall Type I error probability to determine the second stage critical value from these stopping boundaries not only for Fisher's combination function but also for other types of combination function. Tables of critical values corresponding to several different choices of early rejection and acceptance boundaries and these combination functions are presented. A dataset from a clinical study is used to apply the different methods based on directly computed second stage critical values from pre fixed stopping boundaries and discuss the outcomes in relation to those produced by the original Bauer-Kohne method. We then extend the Bauer-Kohne method to two-hypothesis setting and propose a stepwise-combination method for a two-stage adaptive design. In particular, we modify Holm's step-down procedure (1979) and suggest a step-down combination method to control the overall FWER at a desired level á. In many scientific studies requiring simultaneous testing of multiple null hypotheses, it is often necessary to carry out the multiple testing in two stages to decide which of the hypotheses can be rejected or accepted at the first stage and which should be followed up for further testing having combined their p-values from both stages. Unfortunately, no multiple testing procedure is available yet to perform this task meeting pre-specified boundaries on the first-stage p-values in terms of the false discovery rate (FDR) and maintaining a control over the overall FDR at a desired level. Our third goal in this work is to present two procedures, extending the classical Benjamini-Hochberg (BH) procedure and its adaptive version incorporating an estimate of the number of true null hypotheses from single-stage to a two-stage setting. These procedures are theoretically proved to control the overall FDR when the pairs of first- and second-stage p-values are independent and those corresponding to the null hypotheses are identically distributed as a pair (p1, p2) satisfying the p-clud property of Brannath, Posch and Bauer (2002, Journal of the American Statistical Association, 97, 236 -244). We consider two types of combination function, Fisher's and Simes', and present explicit formulas involving these functions towards carrying out the proposed procedures based on pre-determined critical values or through estimated FDR's. Simulations were carried to compare the proposed methods with class BH procedure using first stage data only and full data from both stages respectively. Our simulation studies indicate that the proposed procedures can have significant power improvement over the single-stage BH procedure based on the first stage data, at least under independence, and can continue to control the FDR under some dependence situations. Application of the proposed procedures to a real gene expression data set produces more discoveries compared to the single-stage BH procedure using the first stage data and full data as well. / Statistics

The false discovery rate (FDR) introduced by Benjamini and Hochberg (1995) is perhaps the most standard error controlling measure being used in a wide variety of applications involving multiple hypothesis testing. There are two approaches to control the FDR - the fixed error rate approach of Benjamini and Hochberg (BH, 1995) where a rejection region is determined with the FDR below a fixed level and the estimation based approach of Storey (2002) where the FDR is estimated for a fixed rejection region before it is controlled. In this proposal, we concentrate on both these approaches and propose new, improved versions of some FDR controlling procedures available in the literature. A number of adaptive procedures have been put forward in the literature, each attempting to improve the method of Benjamini and Hochberg (1995), the BH method, by incorporating into this method an estimate of number true null hypotheses. Among these, the method of Benjamini, Krieger and Yekutieli (2006), the BKY method, has been receiving lots of attention recently. In this proposal, a variant of the BKY method is proposed by considering a different estimate of number true null hypotheses, which often outperforms the BKY method in terms of the FDR control and power. Storey's (2002) estimation based approach to controlling the FDR has been developed from a class of conservatively biased point estimates of the FDR under a mixture model for the underlying p-values and a fixed rejection threshold for each null hypothesis. An alternative class of point estimates of the FDR with uniformly smaller conservative bias is proposed under the same setup. Numerical evidence is provided to show that the mean squared error (MSE) is also often smaller for this new class of estimates. Compared to Storey's (2002), the present class provides a more powerful estimation based approach to controlling the FDR. / Statistics

京都大学 / 新制・課程博士 / 博士(文学) / 甲第25030号 / 文博第935号 / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 横地 優子, 教授 VASUDEVASomdev, 教授 宮崎 泉 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

Taxidermy specimens and displays have become increasingly liminal features in contemporary society. Viewed variously as historical curios, obsolete relics or more malignantly as ‘monstrosities’, they can be a source of discomfort for many. Taxidermy objects have become uncomfortable reminders of past scientific and colonial practices which have sought to capture, order and control animated life and as such have become increasingly problematic items for their owners. As a result many taxidermy displays have been dismantled and mounts relegated to ‘backstores’ to gather dust. The paradox is that taxidermy as a practice is a quest for ‘liveness’, to impute life back into the dead. Much like the taxidermist, my goal in this thesis is to revive and restore: to renew interest in and reassert the value of taxidermy collections by recovering what I shall term as the ‘biogeographies’ of their making and continued maintenance. Considerable academic attention has been paid to the ‘finished’ form and display of taxidermy specimens inside cabinets, behind glass – in other words, to their representation. By way of contrast, this thesis recovers the relationships, practices and geographies that brought specimens to their state of enclosure, inertness and seeming fixity. These efforts are aligned with work in cultural geography seeking to counteract ‘deadening effects’ in an active world through a prioritisation of practice (Dewsbury and Thrift 2000), and elsewhere draw on research arguments and approaches originating in historical geography, and the history of science. The thesis firstly investigates historical developments in the scientific and craft practice of taxidermy through the close study of period manuals, combined with ethnographic observations of a practicing taxidermist. Critical attention to practice then facilitates the recovery of the lifeworlds of past taxidermy workshops and the globally sited biogeographies behind the making of individual specimens and collections. The thesis required the purposeful assemblage and rehabilitation of diffuse zoological and historical remains to form unconventional archives, enabling a series of critical reflections on the scientific, creative and political potentials of taxidermy.

The greater visibility of Chinese films brought by the wider global access and circulation has not satisfied the culturally specific understanding of Chinese cinema. The subject/object power relations stemming from the legacy of colonial and postcolonial discourse hinders the arrival of a better-balanced cross-cultural reading. The visibility of cinema provides a visual spectacle, it also challenges the audience with a communication of the epistemic side of visibility which feeds the images meaning and imagination and facilitates a more balanced culturally specific understanding. However, the epistemic side of visibility remains invisible under power-engaged cross-cultural reading. This study suggests that the sentimental provides a possibility for a better-balanced cross-cultural understanding through its provision of empathic connection with the culture, history and the psyche. Home-longing/homecoming is claimed to the basis that the Chinese culture is built upon. Defined as the sentimental, this affective mode has been manifested across Chinese cinema abundantly through visual representation. The various articulations of the sentimental in face of the global and transnational homogeneous force further prove the deep-rootedness of the sentimental. The sentimental fashions as an affective link that establishes an empathic engagement in cross-cultural analysis. Through reading eight Chinese films made since the 1990, this study illustrates the relationship between the visual spectacle and the sentimental in Chinese cinema. Although the eight films are all from mainland Chinese directors, this study is carried out with the awareness of the sharing of Chinese culture within the Chinese language cinema where this study locates.

This thesis examines the relation between philosophy, the poem and the subject in the mature philosophy of Alain Badiou. It investigates Badiou’s decisive contribution to these questions primarily by means of comparison, especially to Martin Heidegger, Philippe Lacoue-Labarthe and Theodor Adorno, as well as by analysing Badiou’s readings of poems and prose by Paul Celan and Samuel Beckett respectively as sites of potential dialogue with his immediate predecessors. The thesis stresses the importance of French philosophy’s German heritage, emphasising not only Badiou’s radical departure from Heidegger and his legacy, but also the former’s wholesale rejection of philosophies that would, in the wake of twentieth-century violence and beyond, proclaim their own end or completion. The thesis argues Badiou’s innovative readings of Celan and Beckett to be crucial to understanding this endeavour: for Badiou, both writers use the poem to affirm novel conceptions of subjectivity capable of transcending the historical conditions of their presentation. The title quotation from Badiou’s The Century, ‘Yes, the century is an ashen sun’, anticipates both the affirmative nature of these subjective figures, and their presience, beyond the bounds of a twentieth-century ‘ashen sun’ pervaded by melancholy, for the ‘new suns’ of the twenty-first. The thesis is in four chapters. The first chapter unfolds the central concepts of Badiou’s departure from Heidegger using Paul Celan’s poems to focus the enquiry. It is guided by two of Badiou’s most condensed declarations about the poem, that, firstly, ‘the modern poem harbours a central silence’, and secondly, that ‘Celan completes Heidegger’. The second chapter exposes the political implications of Heidegger’s writings on Friedrich Hölderlin and the role of the subject therein, offering at its close some thoughts about what Badiou calls, following Philippe Lacoue-Labarthe, the poem’s ‘becoming-prose’. It concludes by drawing the poem and politics into relation by way of the philosophical category of the subject. The third chapter reads Badiou’s concept of ‘anabasis’ against Heidegger’s ‘homecoming’ in order to think the possibility of a collective political subject’s formation in the wake of Auschwitz. The final chapter examines the imbrication of the Two of love and the ‘latent poem’ in Badiou’s reading of Samuel Beckett’s late prose, contrasting this ‘affirmative’ reading of Beckett to Theodor Adorno’s earlier emphases on negation. Following its investigations of subjectivity, poem and prose throughout, the thesis concludes by returning to the title quotation in order to unfold the particular relations between subject, affirmation and negation Badiou’s philosophy enacts, and to offer further routes forward for research regarding Badiou’s philosophy and aesthetic figuration.

From flamenco guitarists to parlour pianists, Matisse’s images of music-making often appear within decorative scenes of gleaming carpets, multi-coloured costumes and lavishly embroidered wall hangings. All of these textiles and more comprised what he called ‘ma bibliothèque de travail’, a working library of inspiration that he maintained throughout his career. ‘I am made up of everything I have seen,’ he remarked, to which he might have added, ‘and heard.’ Practising, performing, listening and concert-going: music, like textiles, was a lifelong pursuit. But his passion for them is not simply of anecdotal significance, nor does it explain their mere co-existence as the subject-matter of his art. Rather, just as music and textiles are interwoven at every stage of his life, so too is their structural and conceptual significance in his work. In a series of case studies, a single textile from his working library is paired with the art it inspired: the kasāya robe and 'The Song of the Nightingale'; the Moghan rug and the Symphonic Interiors; and the Bakuba velours and 'Jazz'. In each case, visual form is found to have musical counterpart, both in the textiles themselves and as represented by Matisse. This opens up new, more imaginative possibilities of interpreting his visual musicality, which is found to be metaphysical, modal and motivic in concept. Finally, these separate strands are drawn together in a single synoptic analysis of the Chapel of the Rosary, the artist’s self-proclaimed masterpiece and ‘total’ work of art. This thesis explores the expansive musical space created by the reduced visual form of textiles. Considered together for the first time, these enduring and inseparable continuities of Matisse’s art – music and textiles – suggest not only a means of unravelling his own visual musicality, but point towards a much-needed methodology for interpreting this notion more broadly.

This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body.

Denna studie görs i samarbete med ett svenskt modeföretag som har upplevt problem med passformen av deras sport-bh:ar i storlekarna L-XL. Problemet som uppstår är att de större storlekarna inte ger tillräckligt med täckning över bysten. Graderingen på sport-bh:arna behövs därför studeras och en fungerande gradering tas fram för att uppnå önskad passform på sport-bh:arna över bysten. Två graderingsmetoder granskas och appliceras på ett mönster från företaget. Prototyper i storlek L och XL sys upp enligt dessa metoder för avprovning och de två resultaten jämförs sedan. Metoden som uppnådde bäst passform utvecklas därefter vidare och en plaggmåttlista med de olika skillnadsmåtten tas därefter fram. Resultatet visade att Johnsons metod uppnådde en bättre passform men att en justering vid axelbanden behövdes göras innan måttlistan kunde sammanställas. / This study was done in collaboration with a Swedish fashion company that has experienced problems with the fit of their sports bra in the sizes L-XL. The problem that arises is that the larger sizes do not provide enough coverage over the bust. The grading on the sports bra is therefore needed to be studied and a functional grading system needs to be produced to achieve the desired fit on the sports bra over the bust. Two grading methods are reviewed and applied to a pattern from the company. Prototypes in size L and XL are sewn according to these methods for fitting and the two results are then compared. The method that achieved the best fit is then developed further and a garment measurement list with the difference measurements is then manufactured. The result showed that Johnson's method achieved a better fit but that an adjustment to the shoulder straps was needed before the measurement list could be compiled.