Thesis (doctoral)--Stockholm University, 1996. / Abstract p. laid in. Includes bibliographical references (p. 125-132) and index.

Thesis (M.S.)--Brigham Young University. Dept of Mathematics, 2006. / Includes bibliographical references (p. 94-96).

Il faut reprendre à nouveaux frais la question de la métaphore, (re)définir les contours de la figure d'analogie, pour la sortir de la confusion où l'ont jetée la coupure instituée avec la comparaison et, plus largement, sa théorisation comme substitution d'un mot à un autre, mais aussi pour mettre à l'épreuve la notion de métaphore au cinéma. Il s'agit donc de questionner l'unité du « processus métaphorique », de trouver le bon niveau permettant de rendre compte de ses pouvoirs, de sa dynamique, et pour cela de refuser l'approche mutilante, sans cesse renaissante, de la rhétorique traditionnelle aussi bien que celles qui diluent sa richesse dans les mécanismes de l'inconscient ou les processus interprétatifs des seuls lecteurs ou spectateurs. La métaphore fait alors apparaître des traits qui indiquent à quel point il est légitime de discerner des formes iconiques à côté des formes linguistiques : elle peut notamment être comprise comme un montage d'expériences, de situations éprouvées, au moins fictivement. Pour arriver à cette conception de la métaphore comme dialogue entre séries d'objets de pensée, comme prédication paradoxale, il paraît nécessaire de renverser l'approche traditionnelle qui consiste à faire de la métaphore conventionnelle le modèle de la théorie, et de la métaphore vive un cas particulier, mais aussi d'interroger les liens entre métaphore, symbole et concept et de souligner comment, depuis Aristote, le modèle proportionnel, authentiquement analogique, est systématiquement écrasé par le modèle sémiotique. Ainsi rénovée, cette conception de la métaphore apparaît fructueuse pour l'analyse des œuvres, comme La Ligne Générale d'Eisenstein. / The question of the metaphor has to be analysed anew, the outlines of the figure of analogy (re)defined to escape the confusion arising from its separation from the simile and, more largely, its definition as a substitution of one word by the other, but also to test the notion of metaphor in the context of cinema. Therefore the unity of the “metaphoric process” has to be questioned, to find the right level permitting a recounting of its powers, of its dynamic, and doing so refusing the mutilating, always recurring approach of the traditional rhetoric, as well as those that dissolve its richness in the mechanisms of the unconscious or in the interpretative processes of solely the readers or viewers. The metaphor then lets traits appear that indicate to what extent it is legitimate to discern iconic forms along with linguistic forms : for example, it can be understood as an editing, a joining of experiences, of felt situations, at least in a fictional way. To reach this conception of the metaphor as a dialogue between two series of objects of thoughts, as the predication of a paradox, it appears necessary to overturn the traditional approach which consists in setting the conventional metaphor as the model of the theory and the live metaphor as the particular case, but also to think about the links between metaphor, symbol and concept, and to underline how, since Aristotle, the proportional model, the authentic analogical one, is systematically crushed by the semiotic model. Thus renewed, this conception of the metaphor seems fruitful for the analysis of works, for instance The General Line by Eisenstein.

Denna uppsats utforskar hur reklamfilmen Just nu (2020) går att tolka med hjälp av klassiska teorier om montage. Med hjälp av välkända och beprövade teorier om montage tolkas materialet i syfte att ge bidrag till visuell kommunikation som vetenskapligt fält och ge verktyg till visuella kommunikatörer att nå ut med ett budskap på ett effektivt sätt som är anpassat till en modern publik. Uppsatsen fastställer att Försvarsmakten använder olika typer av montage i sin kommunikation i reklamfilmen Just nu (2020). Effekten blir en mer engagerande film som kan kommunicera en varierad och stor mängd information. / This essay explores how the commercial Just nu (2020) can be interpreted with the help of classic theories of montage. With the help of well-known and proven theories of montage, the material is interpreted in order to contribute to visual communication as a scientific field and provide tools for visual communicators to reach out with a message in an effective way that is adapted to a modern audience. The thesis states that the Försvarsmakten uses different types of montage in their communication in the commercial Just nu (2020). The effect is a more engaging film that can communicate a varied and large amount of information.

Sergei Eisenstein’s theory of collision montage can be applied to The Canterbury Tales because Chaucer’s writing is highly visual and often unconventional. This study analyzes several portraits and tales to demonstrate Chaucer’s literary collision montage technique. The opening lines of the General Prologue present the juxtaposition of the tripartite plant and humans to suggest commoners’ social immobility. The interruption of the Miller’s Tale clashes with the Knight’s to suggest the possibility of social mobility and to challenge traditional patriarchy. The latter half of the narrator’s description in the Wife of Bath’s portrait indicates a sexualized subtext through the juxtaposition of neutral images that undercuts her wealthy appearance. Chaucer’s literary collision montage technique is used to suggest the possibility of social mobility, and to reflect the disruption of the social hierarchy in late fourteenth-century England.

NTRU is a fast public-key cryptosystem that is constructed using polynomial rings with integer coefficients. We present ETRU, an NTRU-like cryptosystem based on the Eisenstein integers. We discuss parameter selection and develop a model for the probabilty of decryption failure. We also provide an implementation of ETRU. We use theoretical and experimental data to compare the security and efficiency of ETRU to NTRU with comparable parameter sets and show that ETRU is an improvement over NTRU in terms of security.

NTRU is a fast public-key cryptosystem that is constructed using polynomial rings with integer coefficients. We present ETRU, an NTRU-like cryptosystem based on the Eisenstein integers. We discuss parameter selection and develop a model for the probabilty of decryption failure. We also provide an implementation of ETRU. We use theoretical and experimental data to compare the security and efficiency of ETRU to NTRU with comparable parameter sets and show that ETRU is an improvement over NTRU in terms of security.

No description available.

NTRU is a fast public-key cryptosystem that is constructed using polynomial rings with integer coefficients. We present ETRU, an NTRU-like cryptosystem based on the Eisenstein integers. We discuss parameter selection and develop a model for the probabilty of decryption failure. We also provide an implementation of ETRU. We use theoretical and experimental data to compare the security and efficiency of ETRU to NTRU with comparable parameter sets and show that ETRU is an improvement over NTRU in terms of security.

Thesis (Ph. D.)--Stanford University, 1981. / Includes bibliographical references (leaves 301-316). Also issued in print.