L'objectif de cette thèse est de proposer une étude exhaustive de l’œuvre de l'artiste allemand contemporain Franz Erhard Walther (1939, Fulda - ), accompagnant l'élaboration du catalogue raisonné de l'ensemble de son travail. En effet, pour cet artiste à l’œuvre colossale, la nécessité de la réalisation d'un catalogue raisonné se pose depuis plusieurs années. Bien que son œuvre ait une place fondamentale dans l'histoire de l'art de la deuxième moitié du XXème siècle, le travail de Walther reste encore très mal connu et souvent sujet à confusion. Cette œuvre, caractérisée en grande partie par l'utilisation de la couture comme technique et du tissu comme matériau, et dont la monumentalité n'a été rendue possible que grâce à la collaboration de l'artiste avec sa première femme, Johanna Frieß, trouve sa spécificité à travers l'évolution du concept de Handlung, propre à l'artiste. Cette étude propose donc le premier véritable catalogue raisonné de Franz Erhard Walther, de ses premières œuvres en 1954 à ce jour, accompagné d'une étude précise de chaque groupe d’œuvres, replaçant ainsi l'ensemble dans le contexte de l'histoire de l'art. / The objective of this thesis is to propose an exhaustive study of the work of the german contemporary artist Franz Erhard Walther (1939, Fulda - ), as well as the catalogue raisonné of his work. There is indeed since many years an imperative need for such a comprehensive catalogue, given the colossal production of Walther. Although his work plays a prominent role in the Art History of the second half of the XXth century, it remains little-known and is still subject of some confusion. This body of work, mainly characterized by the use of sewing as technique and tissue as material, and whose enormity wouldn't have been possible without the collaboration of the artist's first wife, Johanna Frieß, finds its specificity in the concept of Handlung that Walther developed. This study includes thus the first actual catalogue raisonné of Franz Erhard Walter, from his first-ever works of 1954 until now, as well as a specific study of every group of works, putting it in the context of Art History.

This thesis provides a multi-pronged approach towards paving the way for future space and ground based exoplanet characterisation e↵orts as well as providing new analysis of the atmosphere of the exoplanet HD 179949 b. This is done, firstly, by outlining engineering trade studies conducted for the attitude and orbit control system (AOCS) and sun shield for the Exoplanet Characterisation Observatory (EChO) spacecraft (a proposed European Space Agency exoplanet space mission). These trade studies were conducted in collaboration with EADS Astrium. A cold gas system with the possibility of a hybrid system which would include the use of reaction wheels is recommend for the design of the AOCS. For the sun shield, a V-groove cone shield is concluded to provide the best thermal coverage while also providing stay light protection as well as being more mechanically symmetric than other options. Simulations are then conducted to determine the number of transiting planets future surveys should expect to find around stars within 50 parsecs of the sun. This is done by taking the known stars within 50 parsecs and adding a simulated planet population based on current models and observations to each star. Assumptions are made regarding observability of a planetary transit and a Monte Carlo simulation run to gain statistics on the number and type of planetary systems that can be expected to be found. The results of the simulation show a mean expected number of 27 detectable transiting planets within 50 parsecs. Next, using the Position and Proper Motion Extended-L (PPMXL) catalogue, optical and near-infrared colour cuts were used together with a reduced proper motion cut to find bright M dwarfs for future exoplanet transit studies. PPMXL’s low proper motion uncertainties allow this work to probe down to smaller proper motions than previous similar studies. Unique objects found with this method were combined with that of previous work to produce 8479 K < 9 M dwarfs. Low-resolution spectroscopy was obtained of a sample of the objects found using this selection method to gain statistics on their spectral type and physical properties. Results show a spectral-type range of K7-M4V. This catalogue is the most complete collection of K < 9 M dwarfs currently available and is made available here. High resolution spectroscopy and model spectra of planetary atmospheres is then used along with a spectral deconvolution technique to attempt to detect the Doppler shifted signal of the non-transiting planet HD 179949 b. The signal was not detected but new upper limits were set ruling out the presence of TiO down to a log10 ✏0 = -4.09 with 99.9 per cent confidence. Simulations conducted by this work imply a loss of sensitivity occurring possibly due to varying telluric interference or instrumental systematics.

Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.

Market segmentation is growing as customers become more and more demanding for individual products and exclusive services. Companies are introducing new applications and products across many industries , that can be tailored easily to specific customers and markets. To be successful, the organisations have to offer a high level of customisation and customer-centric processes. However, traditional companies in financial, telecommunication and insurance industry struggle with the technological challenges associated with becoming customer focused enterprises. The aim of this thesis is to define the products catalogue framework, that will provide products bundling and customisation capabilities with user-friendly GUI. Therefore, the most of the work can be designed by business users without additional intensive development efforts. Moreover, the viability of the framework was evaluated on the solution based on IBM technologies. Powered by TCPDF (www.tcpdf.org)

presente trabalho tem como objetivo compreender as cenas típicas de heróis caídos em sequência na Ilíada, tendo por base as revisões mais recentes da Teoria Oral cuja ênfase é na tradicionalidade dos poemas homéricos e em sua recepção. Em particular, cotejou-se a estrutura dessa cena típica com a dos catálogos épicos, seguindo a análise estabalecida pelo artigo seminal de Beye (1964). Um dos resultados mais influentes de seu artigo é a demonstração de que a estrutura do Catálogo das Naus e da cena típica dos heróis tombados é a mesma, razão pela qual costuma-se falar de um \"catálogo de mortos\" na Ilíada. Porém, uma discussão da noção de catálogo na poesia épica e se é realmente possível classificar todas as sequências de guerreiros derrotados como tal ainda não foi realizada. Para atingir esse objetivo, esta dissertação fez uso dos recentes desenvolvimentos da Teoria Oral, responsáveis por renovar a interpretação dos catálogos homéricos pelo viés da performance e da oralidade através de múltiplas abordagens. Assim, catálogos podem ser considerados grandes feitos de memória que causam admiração no público, ou como recursos que auxiliam o aedo no ato da composição, ou até mesmo como o princípio unificador de toda a poética homérica. Aplicou-se cada uma dessas abordagens com o objetivo de responder em que medida é possível falar de um catálogo de mortos na Ilíada. / The present work aims to understand the typical scene of multiple fallen heroes in the Iliad, having as its basis recent revisions of the Oral Theory whose enphasis is in the traditionality of the Homeric poems and its reception. Particularly, it contrasts the structure of this typical scene with the structure of the epic catalogue, following the analysis established by the seminal article of Beye (1964). One of the most influential results of his article was the demonstration that the structure of the Catalogue of Ships and the typical scene of fallen heroes is the same, which is the reason why it is common to speak of a \"catalogue of the dead\" in the Iliad. However, a discussion of what is a catalogue in epic poetry and if it\'s really possible to classify all the sequences of defeated heroes as such has not happened yet. Seeking to fufill that purpose, this dissertation uses more recent developments of the Oral Theory. They are responsible for renovating the interpretation of the Homeric catalogues by using multiple approaches that centers around performance and orality. A catalogue may be perceived as a great feat of memory that astonishes the audience, a tool that help the singer in the act of composition and even as the unifying principle of the Homeric poetics. Each one of this approaches were used with the objective of answering to what extent it is possible to talk about a catalogue of the dead in the Iliad.

The survey Distanshandeln idag 2005, made by the Swedish postal service, tells us that web shops started to pop up in the 1990´s and began competing with the catalogue sells in the end of the decade. Ten years ago, it was said that the web shops would take over the distance trade market. Today we know that did not happen. Internet shopping accounted for 4, 2 % of all distance shopping in Sweden last year. Our inquiry is guided by the observation that the catalogue is still in use and moreover, it seems to have changed very little from when we were kids. It might be that the catalogue has potentials that the Internet lacks. Hence, this study aims to identify and describe differences between mail-order catalogues and web shops in the presentation of fashion products. The theoretical frame of reference for this study consists of literature on marketing, brands, and fashion marketing by catalogue and Internet. This is primary an empirical study and the literature&apos;s function is that of inspiration and support for us in our analysis and our conclusions. The empirical material consists of a survey on the mail-order company Ellos’s spring and summer catalogue of 2009, and their web shop for the same time period. First we constructed a set of mutually exclusive criteria to apply in our analysis (e.g., colour, perspective and information). A number of standard garments were then chosen, and for each of these garments, we applied our model and performed a comparative analysis. To give the reader a better understanding of the survey&apos;s result, we included images to show specific phenomena along with our findings. The main differences between catalogues and web shops could be summarized as follows: Web shops provides immediate information about stock status and campaign prices, this cannot be done in the catalogue. The catalogues on their hand provides the customer with a lot of ideas on how to wear, and how to combine the different garments. This could easily be achieved in the web shop too, and we find it a bit surprising that it is not. / Program: Textilekonomutbildningen

The survey Distanshandeln idag 2005, made by the Swedish postal service, tells us that web shops started to pop up in the 1990´s and began competing with the catalogue sells in the end of the decade. Ten years ago, it was said that the web shops would take over the distance trade market. Today we know that did not happen. Internet shopping accounted for 4, 2 % of all distance shopping in Sweden last year. Our inquiry is guided by the observation that the catalogue is still in use and moreover, it seems to have changed very little from when we were kids. It might be that the catalogue has potentials that the Internet lacks. Hence, this study aims to identify and describe differences between mail-order catalogues and web shops in the presentation of fashion products. The theoretical frame of reference for this study consists of literature on marketing, brands, and fashion marketing by catalogue and Internet. This is primary an empirical study and the literature&apos;s function is that of inspiration and support for us in our analysis and our conclusions. The empirical material consists of a survey on the mail-order company Ellos’s spring and summer catalogue of 2009, and their web shop for the same time period. First we constructed a set of mutually exclusive criteria to apply in our analysis (e.g., colour, perspective and information). A number of standard garments were then chosen, and for each of these garments, we applied our model and performed a comparative analysis. To give the reader a better understanding of the survey&apos;s result, we included images to show specific phenomena along with our findings. The main differences between catalogues and web shops could be summarized as follows: Web shops provides immediate information about stock status and campaign prices, this cannot be done in the catalogue. The catalogues on their hand provides the customer with a lot of ideas on how to wear, and how to combine the different garments. This could easily be achieved in the web shop too, and we find it a bit surprising that it is not. / Program: Textilekonomutbildningen

Orientador: Mariângela spotti Lopes Fujita / Banca: Helen de Castro Silva Casarim / Banca: Ariadne Chlöe Mary Furnival / Resumo: A indexação em catálogos on-line na percepção de usuários integrantes de grupos de pesquisa contribui no aprimoramento da recuperação por assunto conforme os seus interesses e necessidades informacioanais. No entanto, os usuários possuem dificuldades no momento de realizar as buscas por assunto, pois os termos que utilizam não coincidem com os atribuídos na indexação. Essa problemática do catálogo de assunto, muita vezes, é o reflexo da falta de estudos de usuários e de uma política de indexação que oriente a indexação. Com o objetivo de contribuir para a elaboração de política de indexação em bibliotecas universitárias realizou-se o estudo diagnóstico do contexto sociocognitivo de usuários integrantes de grupos de pesquisa nas áreas de Ciências Biológicas, Exatas e Humanas da UNESP, para obter sua percepção com relação à indexação. O desenvolvimento do estudo diagnóstico constou de fundamentação teórica sobre o processo de indexação no âmbito da política de indexação em ambientes institucionais; estudo de percepção de usuários para investigar metodologia de abordagem sociocognitiva mediante Protocolo Verbal; e análise da percepção do usuário de grupo de pesquisa acerca da indexação em bibliotecas universitárias para o desenvolvimento dos catálogos on-line. Os resultados demonstraram que alguns elementos de política de indexação fazem parte do processo da indexação, como por exemplo, exaustividade, especificidade e escolha da linguagem. Sobre a investigação de metodologia sociocognitva, o protocolo verbal em grupo revelou ser uma técnica que permite fazer um estudo da realidade do usuário e das variáveis que influenciam o seu contexto. A abordagem metodológica que permitiu obter a percepção do usuário caracteriza-se por indicadores de conhecimento, interesse e atitude...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The indexing in online catalogues in the perception of users who are members of research groups becomes crucial in an environment of university libraries so that the catalogue of subject, first restricted to the physical limits of the library and containing only bibliographic records of documents ordered in bookshelves, becomes virtual nowadays. However, users have difficulties when they do their search by subject, because the words they use do not coincide with the terms used by the librarian at the time of indexing. Consequently, the retrieval of information becomes silent and with noise. This issue of the catalogue of subject is often the reflection of a possible deficiency of the work done by librarians, since they do not study about users in order to know their interests and opinions concerning the treatment of the documents content. It is also a reflection of the lack of an indexing policy that guides the steps of indexing. Aiming to contribute to the development of an indexing policy in university libraries under the users' perspective, the proposal os this research was to do a study of the socio-cognitive context of users who are members of research groups in the areas of Biological and Exact Sciences and Humanities from UNESP, to get a diagnosis of their perception regarding the indexing context. The specific objectives were: developing a study on the indexing process under the indexing policy in institutional environments; investigating a method of a socio-cognitive approach by Verbal Protocol to study the users' perception; verifying the perception of the user who participates in a research group on indexing information in university libraries for the development of online catalogues. The results showed that the indexing process has some elements of policy, such as completeness, uniqueness and language choice. Both indexing and policy aim to answer the...(Complete abstract, click electronic access below) / Mestre

La thèse a pour objet d’établir le catalogue critique de l’œuvre d’Albrecht Bouts (1451-55 / 1549). Fils de Dirk Bouts (1410-1420 / 1475), peintre officiel de la ville de Louvain, Albrecht et son frère aîné, Dirk le Jeune (1448 / 1491), héritent de l’atelier de peinture à la mort de leur père. L’œuvre de l’aîné reste très controversée, aucun tableau ne pouvant lui être attribué avec conviction. Il en est autrement du puîné, Albrecht, à qui la paternité du Triptyque de l’Assomption de la Vierge des Musées royaux des Beaux-Arts de Belgique peut être donnée avec beaucoup de vraisemblance. Le corpus de son œuvre, établi, en 1925, par Max J. Friedländer et, en 1938, Wolfgang Schöne, autour de ce retable autographe, comprend un nombre important de peintures. Ce catalogue n’a, toutefois, jamais fait l’objet d’une révision par les historiens de l’art. Seules quelques peintures ont été publiées de manière ponctuelle. Devant l’abondance des tableaux attribués au peintre, il convenait donc de réaliser une étude fondamentale afin de distinguer ses propres créations de celles de ses collaborateurs. La thèse se compose de cinq chapitres. Le premier établit une biographie complète, sélective et chronologique, se basant sur les sources livrées par les archives de la ville de Louvain. Leur interprétation critique renouvelée et enrichie livre ainsi de nombreux arguments pour mieux définir l’individualité d’Albrecht Bouts et justifier le développement de sa carrière. Le second chapitre concerne l’étude de l’œuvre d’Albrecht Bouts et débute par un examen approfondi de la seule peinture au caractère autographe reconnu, le Triptyque de l’Assomption de la Vierge. L’examen combiné du style et de la technique d’exécution de cette œuvre de maturité du maître permet de mettre en exergue les influences de Dirk Bouts et d’Hugo van der Goes et de définir la personnalité artistique singulière d’Albrecht Bouts. Suite à cette analyse, le catalogue de son œuvre est reconstitué de façon linéaire, depuis sa genèse jusqu’à son terme. Chacune des peintures qui lui sont attribuées est ensuite étudiée de façon chronologique et détaillée, précédée d’une notice technique préliminaire reprenant les données matérielles et bibliographiques, dans le cinquième chapitre consacré au catalogue raisonné. La révision du corpus de l’œuvre d’Albrecht Bouts est fondée sur un travail d’attribution reposant à la fois sur l’approche stylistique traditionnelle et sur les résultats fournis par les documents de laboratoire. Une importante documentation photographique et technologique des œuvres, dont certaines inédites, a ainsi été rassemblée et sa confrontation constitue un support essentiel à la démonstration. Le troisième chapitre propose, à partir des hypothèses émises à propos de la biographie et du catalogue des œuvres d’Albrecht Bouts, une analyse de la production de son atelier, particulièrement intense à partir de la première décennie du XVIe siècle. Dans cette partie, l’objectif n’est pas d’établir un exposé circonstancié et complet de chaque peinture abordée, mais plutôt de rassembler des groupes cohérents d’œuvres, également fondés sur une approche combinée du style et de la technique d’exécution. Un même principe de renvoi aux notices dans le catalogue raisonné est adopté. Enfin, le quatrième chapitre est consacré à la réalisation en série d’œuvres de dévotion privée dans l’atelier du maître. De nombreuses généralités et quelques études ponctuelles ont préparé le terrain, annonçant l’importance de ce phénomène sans, toutefois, en mesurer l’ampleur. C’est pourquoi, nous lui accorderons une investigation la plus exhaustive tant sur les pratiques en vigueur dans l’atelier, que sur l’iconographique et le contexte socio-économique de la création de prototypes par Albrecht, dans la foulée de l’héritage des modèles paternels. Ainsi, ce travail permettra de mieux cerner la personnalité d’Albrecht Bouts, de retracer son individualité artistique, mais aussi de réévaluer la participation de son atelier, afin de rétablir chacun de ces éléments à leur juste place au sein de la peinture flamande de la fin du XVe siècle et du début du XVIe siècle The subject of the thesis is to establish a critical catalogue of Albrecht Bouts’ (1451-55/1549) work. Son of Dirk Bouts (1410-1420/1475), official painter to the city of Leuven, Albrecht and his elder brother, Dirk the Younger (1448-1491), inherited their father’s workshop after his death. The work of the elder son, Dirk the Younger, is still a discussed topic since no painting could be attributed to him with certainty. It is quite different for Albrecht who is the likely author of the Tryptich of the Assumption of the Virgin from the Musées royaux des Beaux-Arts of Belgium. The corpus of his work, established in 1925 by Max J. Friedländer and in 1938 by Wolfgang Schöne based on this autograph altarpiece, includes an important number of paintings. This catalogue has however never been revised by art historians since then. Only some paintings have occasionally been published. Considering the high number of paintings attributed to the master, there was a need to undertake a deeper study in order to distinguish Albrecht Bouts’ own creations from those of his workshop. The thesis is divided into five chapters. The first one includes a complete, selective and chronological biography of the master, based on the data found in the archives of the city of Leuven. A newly enriched critical interpretation of these documents has allowed a better definition of Albrecht Bouts’s personality and a clearer understanding of the development of his career. The second chapter is devoted to the study of the master’s work and starts with an in-depth examination of the Tryptich of the Assumption of the Virgin, the only painting recognized as an autograph work. The combined examination of the style and the technical execution of this altarpiece, painted during the mature period of his career, underlines both the influences of Dirk Bouts and Hugo van der Goes and helps to display his original artistic personality. From there, the catalogue of his work is re-established, in the last chapter, from the very beginning to the end of his working life. In the last chapter devoted to the catalogue, each painting attributed to the master is carefully studied, on a chronological basis and in details, with an introductive technical note giving material as well as bibliographical information. The review of the corpus of Albrecht Bouts’ work is based on a traditional stylistic approach and on the results given by laboratory documents. An important photographical and technological documentation of his works – some of them unpublished until now- has been gathered. Their comparison brought forward essential arguments on which our demonstration is based. The third chapter, which builds on the two first ones, consists of an analysis of Albrecht Bouts’ workshop production, which was particularly active at the beginning of the XVIth century. The purpose was not to study thoroughly each painting but to extract coherent groups of works thanks to the same combined examination of style and technique. Like the master’s autograph work, each painting is subject to a careful study in the critical catalogue. Finally, the fourth chapter is dedicated to the serial production of private devotional works carried out in the master’s workshop. There were already many general writings and some occasional studies on the subject, but none of them really measured the importance of the mass production. We therefore undertook a deep and thorough research on the workshop practices , on the iconography and on the social-economical context of the realisation of works by Albrecht following the prototypes created by his father. The thesis contributes to a better knowledge and understanding of the life, the personality and the work of Albrecht Bouts and re-evaluates the participation of his workshop. This will give to each of these elements its proper place in the Flemish Masters Painting of the end of the XVth and the beginning of the XVIth centuries.

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