The first chapter covers the basics of the Internet as well as the strenghts and weaknesses of online shopping and data collection. The second chapter describes the decision-making process of the consumer along with possibilities of communications with customers and the differences between the bricks-and-mortar and the online customers. The third chapter provides research and results evaluation methods. The fourth chapter describes the selected search portals that help customers with the choice where to shop. The last chapter is devoted to the results of quantitative and qualitative research together with the recommendation of elements that an online store should include.

The history of the introduction of the Chinese language and culture into the American higher education system is a relatively unexplored research topic to date. Yale and Harvard were the first two universities to offer the study of Chinese during a brief period between the late 1870s to early 1880s. Samuel Wells Williams (衛三畏, 1812-1884), a renowned American missionary and diplomat, and Sir Thomas Francis Wade (威妥瑪, 1818-1895), a British diplomat and sinologist, influenced the first American forays into Chinese studies at Yale and Harvard, respectively. Williams and Wade both traveled to China at a time when the study of Chinese by foreigners in China faced severe challenges. Despite this, the two sinologists diligently applied themselves to better understand Chinese and design learning materials to help others do the same. In 1876, Yale established a Chinese Language and Culture Program with Williams as its first chair. Shortly thereafter in 1879, Harvard began its Chinese Language Elective Scheme that was intended to be based on Wade’s language curriculum, titled, Yü yen tzŭ êrh chi (语言自迩集) , also known as The Colloquial Series. At the time, foreigners in China regarded Wade’s textbook as the most comprehensive resource to learn Peking Mandarin. To teach Wade’s curriculum, Harvard hired the nation’s first native Chinese instructor, named Ko Kun Hua (戈鲲化, 1838-1882). Various primary and secondary sources in both Chinese and English reveal greater detail on the work of Williams, Wade and Ko, as well as the programs offered at Yale and Harvard. By examining these sources, this thesis outlines the history of when and why Americans first began to learn Chinese in college. It evaluates the views of the first pioneers on how best to learn Chinese, and the details behind the establishment of the first American university-level programs. By examining how the views of Williams and Wade shaped the programs at Yale and Harvard, respectively, this thesis aims to evaluate the contributions of these pioneering efforts to the advancement of Chinese language education in America.

Bankruptcy prediction is an important research topic. The cost of incorrect decision making in companies and financial institutions can be great and could affect large parts of society. But while it is indeed a major research area, there are few studies which consider the effects of feature selection. This is an important step that could improve the performance of bankruptcy prediction models. This thesis therefore aims to find which feature selection methods perform best for bankruptcy prediction. Five feature selection methods will be compared and used to create datasets with fewer redundant features. To test these methods, a LSTM model is used to train on both an unaltered dataset and datasets created by the mentioned models. The predictive performance of these are then compared with the metrics AUC, Type I error, and Type II error. This study finds that the forward selection algorithm from the Stepwise regression method performed best with an increase in AUC score and decrease in both Type I and Type II error rates compared to the model trained on the unaltered dataset.

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[EN] We begin at chapter 1, an introduction to the formulation of the hypothesis, we mention the history and current status of the topic, as well as a presentation of the contents. At chapter 2, we expose a detailed discussion of the methodology, based on the seven characteristics of Zen painting discoverd by Shinishi Hisamatsu. These characteristics are: 1 - Asymmetry, 2 - Simplicity, 3 - Austere Sublimity or Lofty Dryness, 4 - Naturalness, 5 - Subtle Profundity or Deep Reserve, 6 - Freedom from Attachment, and 7 - Tranquility. At the 2.1 the essential elements of philosophy and practice of Zen Buddhism and Taoism are established. At chapter 3, we analyze four Chinese artists and three Japanese artists as examples of the seven characteristics of Zen painting. Some biographical information of the painters is exposed, especially that connected with the artistic production and the practice of Zen. At the 3.1 we study the first two principles of Chinese painting by Hsie He, they are important to understand the Chinese traditional painting's aesthetic: 1 - Circulation of the ch'i produces life movement, 2 - Brush creates structure. We see these first two principles, as fundamental to the traditional Chinese painting, ch'i or life energy, is not found in the external appearance of objects, this ch'i, is transmitted through the structural brushstrokes in which the opposites yin-yang are involved. We analyze how these principles are linked with characteristics of Zen painting such as Simplicity, Naturalness and Tranquility, as well as with the expression of the Formless Self. Thus in 3.2, we enter into the analysis of the art works of two Chinese painters of the Southern Song Dynasty who embodied and shaped the Zen aesthetic: Mu Xi and Liang Khai. At the 3.3, we explore the art works of Shitao and Zhu Da and, with the help of the seven characteristics. In Shitao we also analyze fragments of his theoretical texts, and the formulation of the concept of the single brushstroke. At the 3.4, we see the art works of the Japanese painter Sesshu T¿y¿ and we analyze three fundamental styles: one more detailed and soft, another of thick lines, hard and more energetic, and a third one, synthetic and spontaneous called hatsu boku or splashed ink. At the 3.5 we study the Japanese painters Hakuin Ekaku and Sengai Gibon. The 4 is a support chapter, an introduction to some Western works of the twentieth century where the seven characteristics of Zen painting are evident. At the 5 we study the mainly monochromatic paintings of Tomás Sánchez and Leandro Soto on the light of Zen painting's characteristics. We also expose an aesthetical link with the Chinese and Japanese paintings analyzed in previous chapters. At the art works of Tomás Sánchez we can see a better relationship with the Simplicity, the Austere Sublimity or Lofty Dryness and the Subtle Profundity or Deep Reserve, while at the art works of Leandro Soto, we appreciate more the Asymmetry, Naturalness and Freedom from Attachment. Excerpts from an interview with each of the artists, are a corroboration of the above criteria. Finally, chapter 6 is dedicated to art works by the author of this thesis, in which the seven characteristics are found. It is introduced with an explanation of the practice of sumi-e ink painting, which is summarized in three stages of the practice: 1 - beginning full of illusions, ingenuity and a certain arrogance, 2 - intensive practice of rules and discipline, 3 - forgetting about oneself and overcoming the rule. At chapter 7 we explain the conclusions in order to corroborate the initial hypothesis. / [ES] Comenzamos en el apartado 1 de introducción con la formulación de la hipótesis, mención de los antecedentes y estado actual del tema, así como una exposición de los contenidos. En el 2, aparece una exposición detallada de la metodología a utilizar, basada en las siete características de la pintura vinculada al Zen de Shinishi Hisamatsu. Estas características son las siguientes: 1 - Asimetría, 2 - Simplicidad, 3 - Austera Sublimidad o Majestuosa Sequedad, 4 - Naturalidad, 5 - Sutil Profundidad o Reserva Honda, 6 - Libertad de Apegos, y 7 - Tranquilidad. En el apartado 2.1 se exponen elementos esenciales de la filosofía y la práctica del Budismo Zen, así como su vinculación al Taoísmo. En el apartado 3, se analizan obras de cuatro pintores chinos y tres japoneses donde se evidencian las siete características de la pintura vinculada al Zen. Se presentan algunos datos biográficos de los autores, especialmente los que tengan que ver con la producción pictórica y su vinculación a la práctica del Zen. Previamente en el 3.1, estudiamos los dos primeros principios de la pintura china de Hsie He, éstos son necesarios para la comprensión de la estética pictórica china tradicional: 1 - La circulación del ch'i produce el movimiento de la vida, 2 - El pincel crea la estructura. Vemos mediante estos dos primeros principios, como lo fundamental para la pintura china tradicional, es la captación del ch'i o energía vital, y no la apariencia externa de los objetos, este ch'i, es transmitido gracias a la pincelada estructural en la cual está implicada la dualidad de opuestos yin-yang. Analizamos como estos principios están vinculados con características de la pintura Zen como la Simplicidad, la Naturalidad y la Tranquilidad, así como con la expresión del Ser Sin Forma. De este modo en el 3.2, entramos en el análisis de obras de dos pintores chinos de la dinastía Song del Sur que encarnaron y dieron forma a la estética Zen: Mu Xi y Liang Khai. En el 3.3, exploramos obras de Zhu Da y Shitao, a la luz de las siete características. De Shitao vemos también fragmentos de sus textos teóricos, y la formulación del concepto de pincelada única. En el 3.4, vemos la obra del pintor japonés Sessh¿ T¿y¿, se muestran tres estilos fundamentales que en su versátil producción creó este maestro: uno más detallado, suave, de trazos diluidos, otro de líneas gruesas, duro, seco, definido, y uno sintético y espontáneo llamado hatsu boku o de tinta salpicada. Estudiamos en el 3.5 obras de los también japoneses Hakuin Ekaku y Sengai Gibon y su relación con el género zenga, literalmente pintura Zen. El apartado 4 es un capítulo de apoyo, una introducción a algunas obras occidentales del siglo XX donde se evidencian las siete características de la pintura vinculada al Zen. En el 5 entramos en el análisis de pinturas con predominio monocromático a la luz de las siete características de Tomás Sánchez y Leandro Soto. Vemos cómo se manifiestan vínculos estéticos con las pinturas chinas y japonesas analizadas en apartados anteriores. Finalmente, el capítulo 6, está dedicado a obras producidas por el autor de esta tesis, en las cuales están presentes las siete características. Se introduce con un texto sobre los procesos de la práctica del arte del pincel y la tinta, el cual se resume en tres etapas: 1 - comienzos llenos de ilusiones, ingenuidad y cierta arrogancia, 2 - práctica intensiva de las reglas y la disciplina, 3 - olvido de sí mismo y superación de la regla. En el apartado 7 vemos las conclusiones con un resumen. / [CA] Comencem en l'apartat 1 d'introducció amb la formulació de la hipòtesi, menció dels antecedents i estat actual del tema, així com una exposició dels continguts. En el 2, apareix una exposició detallada de la metodologia a utilitzar, basada en les set característiques de la pintura vinculada al Zen de Shinishi Hisamatsu. Estes característiques són les següents: 1 - Asimetria, 2 - Simplicitat, 3 - Austera Sublimitat o Majestuosa Sequedat, 4 - Naturalitat, 5 - Subtil Profunditat o Reserva Fonda, 6 - Llibertat d'Afeccions, i 7 - Tranquil¿litat. En l'apartat 2.1 s'exposen elements essencials de la filosofia i la pràctica del Budisme Zen, així com la seua vinculació al Taoisme. En l'apartat 3, s'analitzen obres de quatre pintors xinesos i tres japonesos on s'evidencien les set característiques de la pintura vinculada al Zen. Es presenten algunes dades biogràfiques dels autors, especialment els que tinguen a veure amb la producció pictòrica i la seua vinculació a la pràctica del Zen. Prèviament en el 3.1, estudiem els dos primers principis de la pintura xinesa de Hsie He, estos són necessaris per a la comprensió de l'estètica pictòrica xinesa tradicional: 1 - La circulació del ch'i produïx el moviment de la vida, 2 - El pinzell crega l'estructura. Veiem per mitjà d'estos dos primers principis, com el més important per a la pintura xinesa tradicional, és la captació del ch'i o energia vital, i no l'aparença externa dels objectes, este ch'i, és transmés gràcies a la pinzellada estructural en la qual està implicada la dualitat d'oposats yin-yang. Analizamos com estos principis estan vinculats amb característiques de la pintura Zen com la Simplicitat, la Naturalitat i la Tranquil¿litat, així com amb l'expressió del Ser Sense Forma. D'esta manera en el 3.2, entrem en l'anàlisi d'obres de dos pintors xinesos de la dinastia Song del Sud que van encarnar i van donar forma a l'estètica Zen: Mu Xi i Liang Khai. En el 3.3, explorem obres de Zhu Da i Shitao, a la llum de les set característiques. De Shitao veiem també fragments dels seus textos teòrics, i la formulació del concepte de pinzellada única. En el 3.4, veiem l'obra del pintor japonés Sessh¿ T¿y¿, es mostren tres estils fonamentals que en el seu versàtil producció va crear este mestre: un més detallat, suau, de traços diluïts, un altre de línies grosses, dur, sec, definit, i un sintètic i espontani cridat hatsu boku o de tinta esguitada. Estudiem en el 3.5 obres dels també japonesos Hakuin Ekaku i Sengai Gibón. L'apartat 4 és un capítol de suport, una introducció a algunes obres occidentals del segle XX on s'evidencien les set característiques de la pintura vinculada al Zen. En el 5 entrem en l'anàlisi de pintures amb predomini monocromàtic a la llum de les set característiques de Tomás Sánchez i Leandro Soto. Veiem com es manifesten vincles estètics amb les pintures xineses i japoneses analitzades en apartats anteriors. En les obres de Tomás Sánchez podem veure una major relació amb la Simplicitat, l'Austera Sublimitat, la Reserva Fonda i la Tranquil¿litat, mentres que en els treballs de Leandro Soto, s'aprecien més la Asimetria, la Naturalitat i la Llibertat d'Afeccions. Finalment, el capítol 6, està dedicat a obres produïdes per l'autor d'esta tesi, en les quals estan presents les set característiques. S'introduïx amb un text sobre els processos de la pràctica de l'art del pinzell i la tinta, el qual es resumix en tres etapes: 1 - començaments plens d'il¿lusions, ingenuïtat i una certa arrogància, 2 - pràctica intensiva de les regles i la disciplina, 3 - oblit de si mateix i superació de la regla. En l'apartat 7 veiem les conclusions amb un resum del camí seguit per a arribar a corroborar la hipòtesi inicial. / Fuentes González, R. (2015). INFLUENCIAS ZEN DE LAS PINTURAS MONOCROMAS ORIENTALES EN OBRAS DE LOS ARTISTAS CUBANOS TOMÁS SÁNCHEZ, LEANDRO SOTO, Y RUBÉN FUENTES [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/53631

This dissertation is devoted to study of complex systems in human physiology particularly heartbeats and brain dynamics. We have studied the dynamics of heartbeats that has been a subject of investigation of two independent groups. The first group emphasized the multifractal nature of the heartbeat dynamics of healthy subjects, whereas the second group had established a close connection between healthy subjects and the occurrence of crucial events. We have analyzed the same set of data and established that in fact the heartbeats are characterized by the occurrence of crucial and Poisson events. An increase in the percentage of crucial events makes the multifractal spectrum broader, thereby bridging the results of the former group with the results of the latter group. The crucial events are characterized by a power index that signals the occurrence of 1/f noise for complex systems in the best physiological condition. These results led us to focus our analysis on the statistical properties of crucial events. We have adopted the same statistical analysis to study the statistical properties of the heartbeat dynamics of subjects practicing meditation. The heartbeats of people doing meditation are known to produce coherent fluctuations. In addition to this effect, we made the surprising discovery that meditation makes the heartbeat depart from the ideal condition of 1/f noise. We also discussed how to combine the wave-like nature of the dynamics of the brain with the existence of crucial events that are responsible for the 1/f noise. We showed that the anomalous scaling generated by the crucial events could be established by means of a direct analysis of raw data. The efficiency of the direct analysis procedure is made possible by the fact that periodicity and crucial events is the product of a spontaneous process of self-organization. We argue that the results of this study can be used to shed light into the nature of this process of self-organization.

Cette thèse a été conçu pour explorer les modèles dynamiques de régression, d’évaluer les inférences statistiques pour l’analyse des données de survie et de fiabilité. Ces modèles de régression dynamiques que nous avons considérés, y compris le modèle des hasards proportionnels paramétriques et celui de la vie accélérée avec les variables qui peut-être dépendent du temps. Nous avons discuté des problèmes suivants dans cette thèse.Nous avons présenté tout d’abord une statistique de test du chi-deux généraliséeY2nquiest adaptative pour les données de survie et fiabilité en présence de trois cas, complètes,censurées à droite et censurées à droite avec les covariables. Nous avons présenté en détailla forme pratique deY2nstatistique en analyse des données de survie. Ensuite, nous avons considéré deux modèles paramétriques très flexibles, d’évaluer les significations statistiques pour ces modèles proposées en utilisantY2nstatistique. Ces modèles incluent du modèle de vie accélérés (AFT) et celui de hasards proportionnels (PH) basés sur la distribution de Hypertabastic. Ces deux modèles sont proposés pour étudier la distribution de l’analyse de la duré de survie en comparaison avec d’autre modèles paramétriques. Nous avons validé ces modèles paramétriques en utilisantY2n. Les études de simulation ont été conçus.Dans le dernier chapitre, nous avons proposé les applications de ces modèles paramétriques à trois données de bio-médicale. Le premier a été fait les données étendues des temps de rémission des patients de leucémie aiguë qui ont été proposées par Freireich et al. sur la comparaison de deux groupes de traitement avec des informations supplémentaires sur les log du blanc du nombre de globules. Elle a montré que le modèle Hypertabastic AFT est un modèle précis pour ces données. Le second a été fait sur l’étude de tumeur cérébrale avec les patients de gliome malin, ont été proposées par Sauerbrei & Schumacher. Elle a montré que le meilleur modèle est Hypertabastic PH à l’ajout de cinq variables de signification. La troisième demande a été faite sur les données de Semenova & Bitukov, à concernant les patients de myélome multiple. Nous n’avons pas proposé un modèle exactement pour ces données. En raison de cela était les intersections de temps de survie.Par conséquent, nous vous conseillons d’utiliser un autre modèle dynamique que le modèle de la Simple Cross-Effect à installer ces données. / This thesis was designed to explore the dynamic regression models, assessing the sta-tistical inference for the survival and reliability data analysis. These dynamic regressionmodels that we have been considered including the parametric proportional hazards andaccelerated failure time models contain the possibly time-dependent covariates. We dis-cussed the following problems in this thesis.At first, we presented a generalized chi-squared test statisticsY2nthat is a convenient tofit the survival and reliability data analysis in presence of three cases: complete, censoredand censored with covariates. We described in detail the theory and the mechanism to usedofY2ntest statistic in the survival and reliability data analysis. Next, we considered theflexible parametric models, evaluating the statistical significance of them by usingY2nandlog-likelihood test statistics. These parametric models include the accelerated failure time(AFT) and a proportional hazards (PH) models based on the Hypertabastic distribution.These two models are proposed to investigate the distribution of the survival and reliabilitydata in comparison with some other parametric models. The simulation studies were de-signed, to demonstrate the asymptotically normally distributed of the maximum likelihood estimators of Hypertabastic’s parameter, to validate of the asymptotically property of Y2n test statistic for Hypertabastic distribution when the right censoring probability equal 0% and 20%.n the last chapter, we applied those two parametric models above to three scenes ofthe real-life data. The first one was done the data set given by Freireich et al. on thecomparison of two treatment groups with additional information about log white blood cellcount, to test the ability of a therapy to prolong the remission times of the acute leukemiapatients. It showed that Hypertabastic AFT model is an accurate model for this dataset.The second one was done on the brain tumour study with malignant glioma patients, givenby Sauerbrei & Schumacher. It showed that the best model is Hypertabastic PH onadding five significance covariates. The third application was done on the data set given by Semenova & Bitukov on the survival times of the multiple myeloma patients. We did not propose an exactly model for this dataset. Because of that was an existing oneintersection of survival times. We, therefore, suggest fitting other dynamic model as SimpleCross-Effect model for this dataset.