Ce mémoire de maîtrise présente une situation dans laquelle un citoyen ordinaire tente de diffuser sur Internet une opinion critique qu'il dirige contre une grande entreprise commerciale et tente d'analyser les éléments favorables à la diffusion de cette opinion critique ainsi que les embûches qui sont à prévoir. Cet exemple permet d'illustrer les forces et les faiblesses d'Internet en matière de liberté d'expression. Il permet de poser une mise en garde concernant les dangers de transposer les limites actuelles à la liberté d'expression des citoyens au contexte d'Internet. La première partie de l'analyse souligne les caractéristiques d'Internet et les différentes façons d'aborder la question de la liberté d'expression sur Internet selon les approches libertaire, libérale ou interventionniste, pour finalement faire le point sur l'apport d'Internet en matière d'information et de communication. La deuxième partie de l'analyse aborde la question de l'efficience en identifiant les éléments qui encouragent l'exercice de la liberté d'expression et ceux qui découragent les utilisateurs de s'exprimer sur Internet. L'exemple des critiques dirigées contre les oligopoles permet d'illustrer la nécessité d'établir des règles propres à Internet en matière de liberté d'expression. Cet exemple fait ressortir le caractère inadéquat des limites actuelles à la liberté d'expression établies par le droit de la presse, le droit de la radiodiffusion, le droit de propriété et le droit de la propriété intellectuelle. L'auteur vient à la conclusion qu'en matière de liberté d'expression, il serait souhaitable: 1) Que Internet soit considéré comme un espace public de discussion; 2) Que la préséance des intérêts économiques sur les intérêts démocratiques au niveau du développement de la société de l'information soit avouée; 3) Que les inégalités en termes d'opportunités d'expression soient reconnues; 4) Que les limites imposées en vertu des règles du droit de la propriété soient reconsidérées à la lumière des caractéristiques d'Internet. / This master thesis presents a case in which an ordinary citizen tries to spread on the Internet a criticizing opinion aimed at a large company, and attempts to analyse what are the elements in favour of this criticism broadcasting, as weil as the obstacles to be expected. This example allows us to illustrate the strengths and weaknesses of the Internet in matter of freedom of speech. It also allows to put forward a warning concerning the risks of transposing current Iimits of freedom of speech in an Internet context. The first part of the analysis underlines the Internet's characteristics and the different ways to broach the subject of freedom of speech over the Internet, following severaI approaches, to finally focus on the Internet's contribution in matter of information and communication. The second part of the analysis deals with the question of efficiency, while identifying the elements that encourage the exercise of freedom of speech and those that discourage Internet users from expressing themselves. The example of criticism aimed toward large companies allows to illustrate the need to establish the Internet's own rules in matter of freedom of speech. What emerges from this example is the inadequate character of current limits to freedom of speech as set up by freedom of the press, broadcasting law, property and intellectual property law. The author concludes that in matter of freedom of speech, it wouId be recommended: 1) that the Internet be considered as a public forum; 2) that the predominance of economic interests over democratic interests in the development of the information society be admitted; 3) that the inequalities in terms of expression opportunities be recognized; 4) that the limits imposed in accordance with property law be reconsidered in an Internet context. / "Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit option droit des technologies de l'information"

This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be examined.

Ce mémoire interroge le rapport développé dans Maîtres anciens de Thomas Bernhard entre l’écriture littéraire, la pensée philosophique et le kitsch. Au-delà de la supposition surprenante que la philosophie puisse être affaire de goût, de séduction et de sentiments, l’analyse de la notion de kitsch philosophique permet d’envisager le discours critique comme une arme à double tranchant qui promet autant l’émancipation que l’autoaliénation du Kitschmensch pensant. C’est à travers la figure de Reger, protagoniste de la comédie orchestrée par Bernhard, que s’incarne cette perspective critique paradoxale qui témoigne de problèmes de légitimation et d’un scepticisme croissant face aux promesses des grands récits émancipateurs. À l’examen de cette mise en scène de la philosophie, apparaît une manière proprement littéraire de « penser la pensée ». Ce mémoire veut rendre compte de ce en quoi la pensée littéraire se distingue de l’essai philosophique mais aussi de tout autre métadiscours. La littérature, car elle montre plus qu’elle n’affirme, conséquemment permet de comprendre les points de contact et de tension entre la philosophie et le kitsch, entre la culture et la barbarie, d’une manière toute particulière. C’est cette particularité qui fait l’objet de cette étude et qui est considérée comme une forme de résistance à la commodification, la vanité, la domestication, bref la kitschification de la pensée critique. / In critically examining Thomas Bernhard’s Old Masters, this essay questions the relations between literary writing, philosophical thought and kitsch. Beyond the surprising assumption that philosophy might also be a matter of taste, seduction and sentiments, analyzing the notion of philosophical kitsch allows for consideration of critical discourse as a double-edged sword that promises not only the emancipation but also the autoalienation of the thinking Kitschmensch. The figure of Reger, the principal character in Bernhard’s orchestrated comedy, embodies this paradoxical critical perspective. This paradox of kitsch critical thought attests to problems of legitimation that arise alongside a growing scepticism towards the claims of grand emancipatory narratives. This examination of philosophy’s mise en scène in the novel allows for perceiving a specifically literary mode of thinking. This essay suggests that literary thinking differs from philosophical exposition as well as from metadiscourse generally. Literature, because it shows more than it affirms, therefore allows for understanding in a very specific manner the similarities and tensions between philosophy and kitsch, culture and barbarism. In sum, this study focuses in this literary specificity that comes to appear as a form of resistance to commodification, vanity, domestication – in short, to the kitschification of critical thought.

In this thesis, an intelligent controller architecture for gait selection of a serpentine robot intended to be used in search and rescue tasks is designed, developed and simulated. The architecture is independent of the configuration of the robot and the robot is allowed to make different kind of movements, similar to grasping. Moreover, it is applicable to parallel processing in several aspects and it is an implementation of a controller network on robot segment network. In the architecture several behaviors are defined for each of the segments. Every behavior is realized in the form of Fuzzy Actor-Critic Learning agents based on fuzzy networks and reinforcement learning. Each segment controller determines the next suitable position in the sensory space acquired using ultrasound sensors, a genetic algorithm implementation then tries to find the change of the joint angles to achieve the desired movement in a given amount of time. This allows optimization on different criteria, during motion. Simulations are performed and presented to introduce the efficiency of the developed controller architecture. Moreover a simplified mathematical analysis is performed to gain insight of the controller dynamics.

[Truncated abstract. Please see the pdf version for the complete text. Also, formulae and special characters can only be approximated here. Please see the pdf version of this abstract for an accurate reproduction.] This thesis treats two aspects of intelligent control: The first part is about long-term optimization by approximating dynamic programming and in the second part a specific class of a fast neural network, related to support vector machines (SVMs), is considered. The first part relates to approximate dynamic programming, especially in the framework of adaptive critic designs (ACDs). Dynamic programming can be used to find an optimal decision or control policy over a long-term period. However, in practice it is difficult, and often impossible, to calculate a dynamic programming solution, due to the 'curse of dimensionality'. The adaptive critic design framework addresses this issue and tries to find a good solution by approximating the dynamic programming process for a stationary environment. In an adaptive critic design there are three modules, the plant or environment to be controlled, a critic to estimate the long-term cost and an action or controller module to produce the decision or control strategy. Even though there have been many publications on the subject over the past two decades, there are some points that have had less attention. While most of the publications address the training of the critic, one of the points that has not received systematic attention is training of the action module.¹ Normally, training starts with an arbitrary, hopefully stable, decision policy and its long-term cost is then estimated by the critic. Often the critic is a neural network that has to be trained, using a temporal difference and Bellman's principle of optimality. Once the critic network has converged, a policy improvement step is carried out by gradient descent to adjust the parameters of the controller network. Then the critic is retrained again to give the new long-term cost estimate. However, it would be preferable to focus more on extremal policies earlier in the training. Therefore, the Calculus of Variations is investigated to discard the idea of using the Euler equations to train the actor. However, an adaptive critic formulation for a continuous plant with a short-term cost as an integral cost density is made and the chain rule is applied to calculate the total derivative of the short-term cost with respect to the actor weights. This is different from the discrete systems, usually used in adaptive critics, which are used in conjunction with total ordered derivatives. This idea is then extended to second order derivatives such that Newton's method can be applied to speed up convergence. Based on this, an almost concurrent actor and critic training was proposed. The equations are developed for any non-linear system and short-term cost density function and these were tested on a linear quadratic regulator (LQR) setup. With this approach the solution to the actor and critic weights can be achieved in only a few actor-critic training cycles. Some other, more minor issues, in the adaptive critic framework are investigated, such as the influence of the discounting factor in the Bellman equation on total ordered derivatives, the target interpretation in backpropagation through time as moving and fixed targets, the relation between simultaneous recurrent networks and dynamic programming is stated and a reinterpretation of the recurrent generalized multilayer perceptron (GMLP) as a recurrent generalized finite impulse MLP (GFIR-MLP) is made. Another subject in this area that is investigated, is that of a hybrid dynamical system, characterized as a continuous plant and a set of basic feedback controllers, which are used to control the plant by finding a switching sequence to select one basic controller at a time. The special but important case is considered when the plant is linear but with some uncertainty in the state space and in the observation vector, and a quadratic cost function. This is a form of robust control, where a dynamic programming solution has to be calculated. &sup1Werbos comments that most treatment of action nets or policies either assume enumerative maximization, which is good only for small problems, except for the games of Backgammon or Go [1], or, gradient-based training. The latter is prone to difficulties with local minima due to the non-convex nature of the cost-to-go function. With incremental methods, such as backpropagation through time, calculus of variations and model-predictive control, the dangers of non-convexity of the cost-to-go function with respect to the control is much less than the with respect to the critic parameters, when the sampling times are small. Therefore, getting the critic right has priority. But with larger sampling times, when the control represents a more complex plan, non-convexity becomes more serious.

Le texte du Bellum ciuile n'a pas fait l'objet, en France, d'une nouvelle édition ou d'une traduction complète depuis celle parue à la CUF entre 1927 et 1930. Ce phénomène est d'autant plus surprenant qu'à la fin du XXème siècle et au début du XXIème siècle ont été réalisées des éditions en langue anglaise, allemande et italienne. La présente thèse tente donc de pallier ce manque en proposant une édition, une traduction et un commentaire du livre II de la Pharsale. Après une brève présentation des éléments d'introduction au texte qui touchent à l'auteur, à son œuvre ainsi qu'à des spécificités du livre II de la Pharsale, le premier tome de ce travail est consacré à l'histoire du texte de Lucain. Il apparaît que la tradition manuscrite du Bellum ciuile est complexe et qu'il n'est pas possible d'établir de stemma classant les manuscrits. Bien plus, la contamination manifeste de la tradition manuscrite ne signifie pas que l'état général du texte tel qu'il a été conservé est bon : au contraire, il existe de très nombreux passages obscurs dans le texte de Lucain. Le texte établi dans le présent travail ne repose donc pas uniquement sur la tradition directe de la Pharsale : il s'appuie également sur une vaste étude de la tradition indirecte et surtout sur la consultation des nombreuses conjectures qui ont été formulées pour tenter de mieux comprendre le texte de Lucain. Le texte latin et sa traduction sont suivis, dans un second volume, d'un commentaire linéaire. Celui-ci regroupe des discussions philologiques sur l'établissement du texte, mais aussi des considérations littéraires et stylistiques ainsi que des explications visant à éclaircir les allusions savantes du poète. / Lucan's epic has not been edited nor translated in France since Bourgery's edition published between 1927 and 1930. This fact is surprising considering that English, German and Italian scholars did such a work at the end of the 20th century and at the beginning of the 21st century. These two present volumes try to compensate this lack in contemporary French scholarship by furnishing a new edition, translation and commentary of Bellum ciuile's book 2. The first volume begins with an introduction to Lucan, to his epic and to some of the distinctive features of book 2, followed by an history of Lucan's text transmission. Pharsalia's textual tradition is complex and it is not possible to make a stemmatic recension fo the manuscripts. Moreover, the obvious contamination of Lucan's tradition does not imply that we are facing a well transmitted text : quite the opposite, many lines of the Bellum ciuile are certainly corrupted. The text established in this work doesn't rely on nothing but manuscripts of Pharsalia : I used as well the indirect tradition and, most importantly, the numerous conjectures made since the 15th century to improve the understand of Lucan's text. In the second volume of this work, the Latin text and its translation are followed by a line by line commentary. It is composed by critical discussion about text establishment, comments about stylistics and explanations of all the allusions made by the poet.

L’objectif de cette Thèse est de collecter, d’analyser et de faire connaître le contenu des archives internationales et familiales inédites, rendant compte, par leur diversité, des activités protéiformes de Michel Tapié de Céleyran (1909-1987). Inventant sa profession d’entrepreneur d’art en conciliant plusieurs activités : critique d’art, éditeur, conseiller artistique, courtier et collectionneur, il a mis en relation des galeries internationales en organisant, à travers le monde des expositions de ses artistes. Il a contribué aux destinées internationales de plus de cent-quatre-vingt artistes dont certains noms brillent, dans la constellation Tapié, plus que d’autres : Dubuffet,Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Soucieux de se créer une position pour l’actualité et pour l’histoire, il inventa « Un Art Autre », un véritable système théorique et marchand s’appuyant sur des méthodes de communication qu’il sut créer avec l’aide de ses amis artistes de combat : l’édition au service de son autopromotion, la fabrication de l’événement à partir des expositions itinérantes relayées par la presse, en France, en Espagne, aux États- Unis, en Italie, au Japon et en Iran.« Il Profeta » est le surnom que lui attribuent les artistes italiens, séduits par la personnalité de Michel Tapié qui est venu en Italie apporter la parole de l’art Informel dont il inventa l’appellation. / The aim of this PhD thesis is to collect, analyse and promote the content ofunpublished international and family archives, highlighting the diversity of MichelTapié de Céleyran (1909-1987)’s activities. Tapié invented his own trade as an artentrepreneur, mixing several occupations: art critic, publisher, art councillor, trader and collector. He also connected together international galleries, organising exhibitions of his own artists, worldwide. He took part in the international fate of more than 180 artists, forming Tapié’s constellation, in which some names still shine more that others, such as Dubuffet, Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Paying close attention to his own status in the current events and in history, Tapié invented « An Art of an Other Kind », which is a true theoretical and tradingsystem. Thus, he relied on communication methods that he created with the help ofhis battle friends: publishing for self promotion, creating a buzz based on travelling exhibitions, with media coverage in France, Spain, United States, Italy, Japan and Iran.« Il Profeta » was the nickname attributed to him by Italian artists, seduced by Michel Tapié’s personality, who came to Italy and brought in the Informal art’s word, which he invented the designation.

Cette thèse a pour objet la réception de l’avant-garde artistique dans la presse politique pendant les trente premières années de la Troisième République en France. Dans la perspective d’analyser la politisation non de la scène artistique mais de sa perception, nous nous proposons d’étudier la notion d’avant-garde artistique à travers le prisme du politique, de rechercher ce que les contemporains politisés des artistes considèrent comme un art à l’avant-garde. Nous nous sommes intéressés à la période longue, de 1874 à 1905, de l’impressionnisme au fauvisme. La première exposition du groupe impressionniste intervient sur la scène parisienne après la proclamation de la Troisième République le 4 septembre 1870, l’échec de la tentative de restauration monarchique de l’automne 1873 mais avant le vote de l’amendement Wallon le 30 janvier 1875 qui officialise la République. Sa réception s’inscrit dans le contexte de l’instauration puis de l’enracinement de la République en France, du passage des républicains de l’opposition au gouvernement. L’analyse de la réception des mouvements artistiques qui se développent à la fin des années 1880 permet quant à elle d’appréhender la perception du paysage artistique par le monde politique, de la gestion de l’État par les républicains modérés à l’accession au gouvernement des radicaux, intransigeants des années 1870. La presse politique, qui n’a pas vocation à discourir sur l’art mais constitue un miroir quotidien présentant une hiérarchie des événements dont elle garde la trace, nous est apparue un médium très pertinent afin de mettre à jour les réactions des spectateurs politisés dont les articles contiennent en filigrane les empreintes. / In this thesis we study how the artistic avant-garde was perceived by the political press in France during the first thirty years of the Third Republic. We propose to question the notion of avant-garde by studying it through the political prism, trying to ascertain what the artists’ politically aware contemporaries used to consider avant-garde art. We do not focus on the political commitments of the artists, but on the way their art was perceived. We chose to consider a rather long period of time, ranging from 1874 to 1905, from Impressionism to Post-impressionism. The first exhibition of the impressionist group took place just after the Third Republic was proclaimed, on the 4th of September 1870, and the unsuccessful attempt to restore the Monarchy in 1873, but before the Wallon amendment voted in 1875, which formalized the establishment of the Republic. We study its reception both in the wake of the establishment of the Republic and as this political regime settles in France, when the Republicans cease to be part of the opposition and start leading the country. Analysing the reception of the art movements emerging in the late 1880’s allows us to grasp how the political audience reacted to the artistic production from the Moderate Republican government to the Radicals’ – formerly called intransigeants in the late 1870’s. Although the purpose of the political press was not to discuss art per se, it still reported artistic and political events, hierarchically presenting them on a daily basis. Acting as a powerful tool to explore the expectations and reactions of its intended politically aware readers, the political press remains a very relevant source for art historians.

282f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-15T12:51:31Z No. of bitstreams: 1 Tese Soleni Fressatoseg-1.pdf: 3411680 bytes, checksum: 4ce3ab1e3ce6c82de5086cf61804c84c (MD5) / Approved for entry into archive by Maria Alice Ribeiro(malice@ufba.br) on 2013-05-02T16:09:50Z (GMT) No. of bitstreams: 1 Tese Soleni Fressatoseg-1.pdf: 3411680 bytes, checksum: 4ce3ab1e3ce6c82de5086cf61804c84c (MD5) / Made available in DSpace on 2013-05-02T16:09:50Z (GMT). No. of bitstreams: 1 Tese Soleni Fressatoseg-1.pdf: 3411680 bytes, checksum: 4ce3ab1e3ce6c82de5086cf61804c84c (MD5) Previous issue date: 2009 / O objeto da presente pesquisa é a representação das práticas culturais caipiras no cinema de Amacio Mazzaropi, sendo seus conceitos norteadores os vinculados às noções de cultura, cultura popular e cultura de massa. O corpo teórico possui como fundamento principal a obra A cultura popular na Idade Média e no Renascimento: o contexto de François Rabelais de Mikhail Bakhtin. Nela o autor explica que a cultura popular, pautada pelo cômico, utiliza-se do deboche e da sátira como uma forma de resistência aos valores e à ideologia dominante. Dos 32 filmes de Mazzaropi foram escolhidos Chico Fumaça (1958), Chofer de praça (1958), Jeca Tatu (1959) e Tristeza do Jeca (1961). Nesses filmes foi representada a realidade social dos caipiras, inclusive a relação conflitiva com os proprietários de terra e com os hábitos e costumes citadinos. A partir da análise desses filmes, podemos afirmar que a cultura popular neles representada caracteriza-se pela ambigüidade, algumas vezes subordinando-se, em outras se rebelando contra os valores dominantes e as regras instituídas. Quanto ao método, os seus filmes foram analisados à luz do período em que foram produzidos, ou seja, no contexto de hegemonia da política e ideologia desenvolvimentista, no entanto, não compactuando com suas propostas. / Salvador

SANTOS, Maicon Araújo. Uma voz lírica em tempos de crise: a poesia de Lêdo Ivo nos anos 1940. 2012. 106 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2012. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-07-09T14:55:12Z No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-17T12:21:40Z (GMT) No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) / Made available in DSpace on 2012-07-17T12:21:40Z (GMT). No. of bitstreams: 1 2012_DIS_MASANTOS.pdf: 562571 bytes, checksum: dccf205859e0e9e2b2384c9ca564d0db (MD5) Previous issue date: 2012 / O presente trabalho propõe-se a analisar a poesia do escritor alagoano Lêdo Ivo (1924) produzida nos anos 1940, particularmente as obras Ode e elegia, de 1945, segundo livro do autor, e Ode ao crepúsculo, de 1946, quarto livro na sequência de suas publicações. Vê-se nessas obras o discurso de sobrevivência do gênero lírico equilibrado com a preocupação formal dos autores de 45 e, ao mesmo tempo, revelador de uma resistência contra a “coisificação do mundo”, de que nos fala o filósofo Theodor Adorno. Ode e elegia será abordada a partir das considerações de Adorno a respeito da relação entre Lírica e Sociedade. Em Ode ao crepúsculo, será destacado o sentido de resgate da autenticidade da vida sugerido pela poesia de Lêdo Ivo, a procura do Ser do homem, com base nas ideias de Martin Heidegger sobre o Ser e o mundo