The thesis deals compare prices mixed permanent crops that are established for the property transfer tax or gift tax from prices established for other purposes. For the determination of the prices is used method of simplified and in a yield or cost method.

This tesis are about the mutual relation between the woody plants and the city public space, more precisely between the architectural composition and its elements. Woody plants, particulalry the trees,are under the same aesthetical rules as all the other elements of the public space, but at the same time are the living organisms, that are under the rules of nature. The thesis present five thematic groups of information, thats are necessary to know for the design of the woody plants in the city public space. On the base of this information the thesis review the streets and the squares of the city Brno and prove no contradiction between the aesthetical rules and the rules of nature. Contrarily, they support each other. It proves, that the high quality city space with the woody plants, is possible to create only with the knowledge of the both rules and their aplications.

L’orfèvre parisien Pierre Germain dit le Romain (Villeneuve-lès-Avignon, 1703-Paris, 1783), connu pour apublication des Éléments d’orfèvrerie, eut une carrière originale, passant sa jeunesse dans les ateliers d'orfèvres du roi,chez Thomas Germain (1726-1729), puis après un séjour à Rome (1729-1733), chez Jacques Roëttiers (1733-1736) avantde devenir apprenti chez Nicolas Besnier en 1736, et maître en 1744. Travaillant pour Roëttiers jusque vers 1755-1756,devenu grand messager juré de l’université, amateur d’estampes, il publie en 1748 le plus vaste recueil d’orfèvrerie dutemps, les Éléments d'orfèvrerie, cent planches de modèles religieux et civils de style rocaille, gravés par Bacquoy etPasquier, repris et copiés jusqu’au XIXe siècle jusqu’à l’étranger. Il publie aussi en 1751 un court Livre d'ornemens.Installé quai des orfèvres, à La Garde Royale, il produit peu, 1410 kg d’argent jusqu’à sa mort, de beaux ou simplesobjets. Quelques acquéreurs sont connus : Joseph Ier de Portugal en sous-traitance pour François Thomas Germain (1755-1756, 1765), les Wal de Baronville (1761-1763), les Wandalin Mnisech (1762-1764), la princesse des Asturies encollaboration avec Philippe Caffieri et Thomas Chancellier (1765), les Rocheblave (1777), le comte d’Artois et laprincesse de Ligne (1782). L’étude s’élargit aux artistes côtoyés : à Paris, ses maîtres Germain, Roëttiers, Besnier, sonconfrère Denys Frankson, ses apprentis Ange Joseph Aubert et Pontaneau ; à Avignon, les Clerc, Mézangeau et ClaudeImbert, ses parents les architectes J.-B. et François Franque et le menuisier facteur d’orgues Charles Boisselin ; àMarseille, les Durand, les Giraud et son neveu Antoine Germain. / The Parisian silversmith Pierre Germain the Roman (1703-1783). A career near the silversmiths of the king. The Parisian silversmith Pierre Germain the Roman (Villeneuve-lès-Avignon, 1703-Paris, 1783), known for his book the Éléments d’orfèvrerie, had an original career. During his youth he worked for the silversmiths of the king, Thomas Germain (1726-1729); and after some time in Rome (1729-1733), worked for Jacques Roettiers (1733-1736) and as an apprentice for Nicolas Besnier from 1736. Master in 1744, he kept working for Roettiers until 1755-1756. Great messenger of the University, fond of engravings, he published in 1748 the largest book of models of the time, Élémentsd’orfèvrerie, 100 plates of rococo religious and civil silverware, engraved by Bacquoy and Pasquier, reprinted and copied until the 19th century in France and abroad (London, Turin). He also published in 1751 a short Livre d’ornemens. Installed quai des orfèvres, he had a small production, 1410 kg of silver up to his death, beautiful or simple objects,including orders for Joseph I of Portugal under contract for François Thomas Germain (1755-1756, 1765), for the Wal de Baronville family (1761-1763), the princess of Asturias in collaboration with Philippe Caffieri and Thomas Chancellier (1765), the Wandalin Mnisech (1762-1764), the Rocheblave (1777), the count of Artois and the princess of Ligne (1782). This study also covers artists he knew well: in Paris, his masters Germain, Roettiers, Besnier, his collegue Denys Frankson, his apprentices Ange Joseph Aubert and Pontaneau; in Avignon, the Clerc and Mézangeau families and Claude Imbert, his parents the architects J.-B. and François Franque, the organ builder Charles Boisselin; in Marseille, the Durand and Giraud families and his nephew Antoine Germain.

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Diese Arbeit untersuchte den Einfluss von Emotionen auf das Lernen und wie Studierende motiviert werden, mithilfe sozialer Merkmale Mathematik zu lernen. Hierzu wurden ein Experiment zur Höflichkeit und zwei Experimente zu dekorativen Bildern durchgeführt. Im ersten Experiment (N = 277) wurden die Teilnehmer einer von vier Gruppen (Faktoren Instruktion und Feedback) mit Manipulation der Höflichkeit (höflich vs. direkt) zugeordnet. Die Studierenden mussten im Rahmen eines Online-Maschinenbaukurses Themen aus der höheren Mathematik lernen. Es mussten vier Kapitel abgeschlossen und vier Posttests durchgeführt werden, um das erlernte Wissen zu kontrollieren. Die Ergebnisse zeigen, dass Höflichkeit im Feedback die Studierende motivierte, länger zu üben und zu höheren Lernergebnissen führte. Höflichkeit in den Instruktionen hatte jedoch keinen Einfluss auf das Lernen. Es wurde angenommen, dass Höflichkeit in Instruktionen nicht so einflussreich ist wie Höflichkeit im Feedback und daher hatten die Änderungen in Instruktionen keinen Einfluss auf das Lernen. Anschließend wurden dekorative Bilder verwendet, um den Einfluss weiterer sozialer Prozesse auf das Lernen zu untersuchen. Die Bilder enthielten keine Lerninformationen, waren jedoch kontextbezogen und sollten die Emotionen der Teilnehmer beeinflussen, um ihr Lernen zu verbessern. Insgesamt wurden zwei Experimente mit dekorativen Bildern und identischen Faktoren durchgeführt. Die Experimente untersuchten die Einflüsse von Mastery- und Coping-Modellen mithilfe von positiven und negativen dekorativen Bildern. Dabei wurden die Faktoren Bild im ersten Abschnitt (positiv vs. negativ) und Bild im zweiten Abschnitt (positiv vs. negativ) verwendet. Im ersten Experiment (N = 100) mussten die Studierende über nichtparametrische Tests lernen. Die Ergebnisse zeigen, dass das erste positive dekorative Bild die Lernergebnisse im ersten Abschnitt verbesserte, während das zweite positive dekorative Bild die intrinsische und extrinsische kognitive Belastung verringerte. Die Ergebnisse unterstützen teilweise das Mastery-Modell. Dekorative Bilder hatten jedoch keinen Einfluss auf die Lernergebnisse im zweiten Abschnitt einschließlich Behalten, Transfer, lernrelevanter kognitiver Belastung und Emotionen. Höchstwahrscheinlich war die emotionale Induktion durch dekorative Bilder zu schwach. Um den Einfluss dekorativer Bilder auf das Lernen zu erhöhen, wurde ein neues Experiment (N = 92) mit einer wiederholten Präsentation der Bilder (jedes Bild wurde viermal gezeigt) vorbereitet. Darüber hinaus wurden im Gegensatz zum vorherigen Experiment die Bilder mit den Lernmaterialien (logarithmische Aufgaben) kombiniert. Unerwartet hatten dekorative Bilder im Experiment keinen Einfluss. Möglicherweise wurden die Bilder übersehen. Insgesamt hatten die sozialen Hinweiszeichen beim Lernen im Mathematik-Online-Kurs einen gewissen Einfluss auf die Teilnehmer. Emotionen sollten jedoch bei allen Experimenten eine Rolle spielen. Im ersten Experiment waren die Teilnehmer motiviert, durch höfliches Feedback zu lernen, aber die Höflichkeit in den Instruktionen war nicht wichtig. Im zweiten Experiment beeinflusste die Valenz der Bilder das Lernen, da das erste positive Bild die Lernergebnisse teilweise verbesserte und die kognitive Belastung verringerte. Die Positionen der Bilder sollten jedoch berücksichtigt werden. Im dritten Experiment führte die Kombination der Bilder und Lernmaterialien auf denselben Seiten dazu, dass die Teilnehmer die Bilder ignorierten.:Danksagung 4 Zusammenfassung 5 Abstract 7 Introduction and Theories 9 Introduction and Overview 9 Cognitive Load Theory 10 Cognitive Theory of Multimedia Learning 11 Cognitive-Affective Theory of Learning with Multimedia 12 Cognitive-Affective-Social Theory of Learning with Media 13 Design Effects 14 Introduction and Overview 14 An Overview on Politeness Research 15 Decorative Pictures and Learning with Multimedia 17 Methods 20 Participants and Design 20 Learning Materials 21 Measures 22 Results and Discussion 23 Summary of Results and Conclusion 23 Implications 25 Limitations and Future Directions 25 References 27 Appendix: Publications 34 Boundary Conditions of the Politeness Effect in Online Mathematical Learning 35 The Influence of Affective Decorative Pictures on Learning Statistics Online 45 Does the Position and Emotional Valence of Decorative Pictures (in Multimedia Learn-ing) Influence Learning Performance? 58 Lebenslauf 94 Selbständigkeitserklärung 99 / This work investigated the influence of emotions on learning and how to motivate students to learn mathematics with the help of social features. For this, one experiment concerning politeness and two experiments about decorative pictures were carried out. In the first experiment (N = 277), participants were assigned to one of four groups (instructions and feedback factors) with manipulation of politeness (polite vs. direct). The students had to learn topics from higher mathematics as part of an online mechanical engineering course. There were four chapters to complete and four posttests to control the knowledge learned. The results show that politeness in feedback motivated students to work longer and led to higher learning outcomes. However, politeness in instructions did not influence learning. It was assumed that politeness in instruction is not as powerful as politeness in feedback, and therefore, the changes in instruction did not influence learning. Next, decorative pictures were used to investigate the influence of further social processes on learning. The pictures contained no learning information but were context-related and should have influenced the participants’ emotions to enhance their learning. In sum, two experiments with decorative pictures and identical factors were conducted. The experiments investigated the influences of mastery and coping models with the help of positive and negative decorative pictures. The factors picture in the first section (positive vs. negative) and picture in the second section (positive vs. negative) were used. In the first experiment (N = 100), the students had to learn about nonparametric tests. The results show that the first positive decorative picture improved the learning outcomes in the first section, whereas the second positive decorative picture decreased the intrinsic and extraneous cognitive load. The results partially support the mastery model. However, decorative pictures had no influence on the learning outcomes in the second section, including retention, transfer, germane cognitive load, and emotions. Most likely, the emotional induction by decorative pictures was too weak. To increase the influence of decorative pictures on learning, a new experiment (N = 92) with a repeated presentation of the pictures (each picture was shown four times) was prepared. Furthermore, in contrast to the previous experiment, the pictures were combined with the learning materials (logarithmic tasks). Unexpectedly, decorative pictures in the experiment had no influence. Possibly, the pictures were overlooked. In summary, the social features of learning mathematics through an online course had some influence on the participants. Emotions, however, should play a role in all experiments. In the first experiment, the participants were motivated to learn through polite feedback, but politeness was not important during the instructions. In the second experiment, the valence of the pictures influenced the participants’ learning, as the first positive picture partially enhanced the learning outcomes and decreased the cognitive load. However, the positions of the pictures should be considered. In the third experiment, the combination of the pictures and learning materials on the same pages led to the participants ignoring the pictures.:Danksagung 4 Zusammenfassung 5 Abstract 7 Introduction and Theories 9 Introduction and Overview 9 Cognitive Load Theory 10 Cognitive Theory of Multimedia Learning 11 Cognitive-Affective Theory of Learning with Multimedia 12 Cognitive-Affective-Social Theory of Learning with Media 13 Design Effects 14 Introduction and Overview 14 An Overview on Politeness Research 15 Decorative Pictures and Learning with Multimedia 17 Methods 20 Participants and Design 20 Learning Materials 21 Measures 22 Results and Discussion 23 Summary of Results and Conclusion 23 Implications 25 Limitations and Future Directions 25 References 27 Appendix: Publications 34 Boundary Conditions of the Politeness Effect in Online Mathematical Learning 35 The Influence of Affective Decorative Pictures on Learning Statistics Online 45 Does the Position and Emotional Valence of Decorative Pictures (in Multimedia Learn-ing) Influence Learning Performance? 58 Lebenslauf 94 Selbständigkeitserklärung 99

La recherche scientifique sur les jeux vidéo s'est longtemps concentrée sur l'impact de ceux-ci sur le niveau d'agressivité des joueurs, avec un accent mis sur le contenu des jeux. Initialement perçus comme ayant une influence négative par le public et même un certain nombre de chercheurs, des résultats plus récents montrent que les jeux vidéo provoquent une expérience cathartique plutôt que directement stimulante. La motivation principale derrière la recherche ici présente est la possibilité d'employer des jeux vidéo pour développer l'empathie et autres comportements pro-sociaux. En effet, des études récentes montrent que les mécanismes d'interactions entre les joueurs (plutôt que le contenu du jeu en question) ont un impact certain sur leur comportement futur. Or, ces mécanismes sont généralement un sous-produit du mode de jeu visé, ils sont régis par une interaction émergente. On propose que, en appliquant des principes de design qui sont déjà appliqués dans d'autres objets ludiques (i.e. les jeux de société thérapeutiques), à la conception de jeux vidéo, un effet positif et durable pourrait être obtenu au sujet des comportements pro-sociaux des joueurs. Ainsi, en joignant des éléments narratifs et visuels à un mode de jeu qui promeut l'empathie, on pourrait transformer l'expérience traditionnelle du jeu en un outil psycho-pédagogique important. Une analyse d'un jeu vidéo commercial à travers la lentille du cadre théorique développé ici donne un aperçu de ce qui se fait actuellement dans l'industrie et de ce qui peut être fait pour améliorer davantage la conception de jeux vidéo. / Research regarding video games has long focused on the effects they have on the aggression levels of the players, with an emphasis on the content of games. These effects have generally been regarded as negative by early researchers and the general public, even though more recent findings have shown that they have a cathartic effect rather than pure arousal on the player’s emotions. The main motivation behind this work is the potential positive effects video games may have on empathy and other prosocial behaviours. Recent studies on video games have shown that the interactions between players and other social components present while playing have a greater influence on the players future behaviour than the content of the game. These interactions are often a by-product of the intended play patterns such as cooperative gameplay and are very few times elicited intentionally by the designers. It is proposed that by applying design principles that are currently present in other ludic artefacts, such as therapeutic board games, to the design of video game mechanics, a positive and lasting effect on the players prosocial behaviours can be achieved. Game mechanics that compel players to interact in positive ways in coordination with narrative and visual components have the potential to transform the ludo-narrative experience of video games into powerful psycho-educational tools to improve the development of empathy and other prosocial behaviours in children. An analysis of a commercially available video game through the lens of the theoretical framework developed here provides insight into what is currently done in the industry and what can be done to improve video game design further.

Le design de jeux est une discipline en plein essor, dont les progrès technologiques et théoriques ne cessent de se perfectionner. L’évolution rapide de la sphère ludique oblige une constante adaptation de la part de cette discipline, autant au niveau professionnel que académique. Il est important de se questionner quant aux impacts de cette évolution sur les programmes de formation en design de jeux. Les programmes se spécialisant dans ce domaine doivent s’adapter en temps réel afin de former des praticiens plus près des attentes et des pratiques retrouvées sur le marché du travail contemporain. En s’appuyant sur le modèle de la recherche ethnographique et phénoménologique en design, l’objectif de l’étude est d’apporter un nouvel éclairage sur la pratique de l’enseignement du design de jeux. Nous observons plus attentivement les apprenants du D.E.S.S. en design de jeux de l’Université de Montréal lors de la réalisation de leur projet de fin d’études, dont l’objectif est la création d’un prototype vidéoludique fonctionnel. Notre approche est de nature qualitative, d’inspiration phénoménologique: nous avons recueilli l’expérience pédagogique de sept étudiants designers ainsi que de deux enseignants. Par l’intermédiaire de l’observation non participante, de carnets de bords, d’entretiens semi-dirigés et de groupes de discussion, il a été possible d’analyser l’expérience en action des participants. Une attention significative est portée à l’égard des différents phénomènes rencontrés par les étudiants lors du processus de conception, de création et de production du projet de fin d’études. Nos résultats tentent de dépeindre, le plus fidèlement possible, l’expérience pédagogique des participants de la cohorte 2019-2020. L’analyse met en perspective les forces ainsi que les insuffisances du contexte pédagogique. L’interprétation a permis l’identification de plusieurs phénomènes et thématiques récurrentes tout au long de l’étude. La conclusion de la recherche mène vers des pistes recommandations prospectives qui concernent le contexte socioculturel, la motivation, le travail d’équipe ainsi que l’encadrement en situation de projet. / The field of video game design is constantly evolving seeing rapid change both in game design theory and technology as the video game industry matures as a whole. This rapid progress requires game design professionals to constantly evolve and adapt to remain pertinent on the market. Thus, it is important to consider the impact of such rapid growth on the academic platform that seeks to support it by providing the industry with qualified graduates ready to meet the ever-growing expectations of employers. Using the ethnographic and phenomenological research models, the objective of the present study is to bring new understanding of the teaching practices of game design by following students through their final project. Consisting in designing and developing a functioning video game prototype, the final project offers the author of this study a unique perspective into the design processes and strategies adopted by the students over the course of the production. Based on the qualitative approach of the phenomenological research model, this study compiled the experiences of seven design students and two teachers through non-participatory observation, logbooks, semi-structured interviews and focus groups. Through the observations gathered on the field, this study aims to faithfully portray the academic experiences of the students of class 2019-2020. The analysis of the data collected highlights the strengths of the educational experience as well as underlines its inadequacies and shortcomings which, in turn, lead to reflexive recommendations concerning the sociocultural context, motivation, teamwork, training and pedagogy within a project-based context.

This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

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