A study of the history of how Superman came to be identified with Jesus Christ. / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. This thesis argues that the connections between Superman and Jesus were not integral to the character as he was originally created, but were imposed by later writers over time and mainly for cinematic adaptations. There is a notable difference between how Superman is portrayed in the comics and the films because the films are aimed at a broader audience and have different marketing aims. Superman turned into a Christ figure for financial reasons in many ways. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists because discussions of authorial intention are necessary for the narrative that this thesis pursues. The connection between Superman and Jesus was not inevitable and cannot be seen wholly as a byproduct of the changes in the surrounding American culture because this connection was a product of specific artistic decisions by particular creators—who were not necessarily Christians themselves. / Thesis / Master of Arts (MA) / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists.

The building is a family chapel comprised of three separate yet interdependent spaces: a sanctuary, a stair tower, and a spire. The design developed from the inside out, specifically from the interior of the sanctuary to the building as a cohesive whole. The building's form was found through sketching and making a model. The design is represented through sketches, drawings, and photographs. / Master of Architecture

The ability to extract figures and tables from scientific documents can solve key use-cases such as their semantic parsing, summarization, or indexing. Although a few methods have been developed to extract figures and tables from scientific documents, their performance on scanned counterparts is considerably lower than on born-digital ones. To facilitate this, we propose methods to effectively extract figures and tables from Electronic Theses and Dissertations (ETDs), that out-perform existing methods by a considerable margin. Our contribution towards this goal is three-fold. (a) We propose a system/model for improving the performance of existing methods on scanned scientific documents for figure and table extraction. (b) We release a new dataset containing 10,182 labelled page-images spanning across 70 scanned ETDs with 3.3k manually annotated bounding boxes for figures and tables. (c) Lastly, we release our entire code and the trained model weights to enable further research (https://github.com/SampannaKahu/deepfigures-open). / Master of Science / Portable Document Format (PDF) is one of the most popular document formats. However, parsing PDF files is not a trivial task. One use-case of parsing PDF files is the search functionality on websites hosting scholarly documents (i.e., IEEE Xplore, etc.). Having the ability to extract figures and tables from a scholarly document helps this use-case, among others. Methods using deep learning exist which extract figures from scholarly documents. However, a large number of scholarly documents, especially the ones published before the advent of computers, have been scanned from hard paper copies into PDF. In particular, we focus on scanned PDF versions of long documents, such as Electronic Theses and Dissertations (ETDs). No experiments have been done yet that evaluate the efficacy of the above-mentioned methods on this scanned corpus. This work explores and attempts to improve the performance of these existing methods on scanned ETDs. A new gold standard dataset is created and released as a part of this work for figure extraction from scanned ETDs. Finally, the entire source code and trained model weights are made open-source to aid further research in this field.

The present study explored the possibility of applying Koppitz's developmental scoring techniques of mental maturity to retarded adults. The following hypotheses were tested: 1) that there is a significant correlation between the Koppitz HFD Test scores and the WAIS Full Scale scores; 2) that the correlation between the Koppitz HFD Test scores and the WAIS Performance Scale scores is also significant. Statistical computations did confirm the latter hypothesis but not the former one.

La résolution des images a dû être modifiée afin de respecter les droits d'auteurs. Voir le tableau comprenant la liste des vases afin de trouver ces images en meilleure qualité. / La présente étude sert à rassembler tous les vases attiques à figure rouge présentant des scènes sexuellement explicites connues à ce jour. Un examen attentif de ces sources permit de les décrire ainsi que de les comparer afin d'en faire ressortir les similitudes et les différences. Ces vases, étrangement, proviennent majoritairement d'Étrurie, ce qui surprend lorsqu'on sait qu'ils ont été fabriqués en Grèce. Grâce à l'étude du commerce à cette époque, on constate que ces vases n'occupaient pas une grande place dans les relations commerciales entre Grecs et Étrusques. De plus, ces derniers les utilisaient dans un contexte funéraire, ce qui diffère grandement des Grecs. En effet, ces derniers semblent avoir utilisé ces vases dans un contexte où le vin était central, le symposion. Bien que ce genre de banquet était une activité généralement domestique, on se rend compte, à la lumière de découvertes archéologiques, que les vases sexuellement explicites auraient pu être utilisés dans un contexte lié à la prostitution, les bordels. Ceci nous amène donc à nous questionner quant au statut des femmes qui y sont représentées. Finalement, l'étude des sources littéraires, de peu contemporaines aux vases à l'étude, nous renseigne, en partie, sur les opinions quant aux différentes pratiques sexuelles de l'époque. Au final, bien que des pistes théoriques intéressantes se dégagent de l'étude de ces vases, il reste que des conclusions sûres et hors de tout doute sont impossibles étant donné le manque de source. Ces vases présentent donc un portrait à mi-chemin entre la réalité et le symbolisme de la sexualité en Grèce antique. / This study serves to collect all the red-figure Attic vases with sexually explicit scenes known to date. A close examination of these sources made it possible to describe and compare them to bring out the similarities and differences. These vases, strangely, come mainly from Etruria, which is surprising when we know that they were made in Greece. Through the study of trade at that time, we see that these vases did not occupy an important place in the trade relations between Greeks and Etruscans. In addition, they used them in a funerary context, which differs greatly from the Greeks. Indeed, they appear to have used the vases in a context where the wine was central, the symposion. Although this kind of banquet was generally a domestic activity, we realize, in light of archaeological discoveries, that sexually explicit vases could have been used in a context related to prostitution, brothels. This leads us to question the status of the women that are represented. Finally, literary sources that are contemporary of the studied vases, tells us, in part, on different views on the sexual practices of the time. Finally, although interesting theoretical tracks emerge from the study of these vases, it remains that firm conclusions are impossible given the lack of source. These vases therefore gives us a portrait halfway between reality and symbolism of sexuality in ancient Greece.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1999.

Comment les gestes philosophiques prennent-ils forme dans des œuvres et se matérialisent-ils pour le lecteur philosophe, celui qui saura retrouver les dynamiques de pensée sous-jacentes au texte consigné sur la page ? Pour répondre à cette question, cette étude prend l’exemple des œuvres de Platon, Michel de Montaigne et Jacques Rancière. Chacune mobilise des figures ou personnages et des écritures spécifiques pour donner accès aux gestes caractéristiques des « maîtres ignorants ». Ceux-ci développent et enseignent un rapport au savoir singulier, en rupture avec les philosophies antérieures et avec les discours savants de leur temps. La thèse défend l’idée que la relation du maître ignorant à son disciple est analogue, dans chacune de ces œuvres, à celle que le texte entretient avec son lecteur, dans la mesure où elles expriment, à leur propre manière, les gestes philosophiques de l’auteur. La première partie de la thèse analyse la nature et les fonctions des figures, des gestes et des écritures philosophiques présents dans les textes de ces auteurs. Les trois parties suivantes montrent que la puissance philosophique et pédagogique de leurs œuvres repose sur la cohérence entre ces gestes, figures et écritures des maîtres ignorants. / How do philosophical gestures take shape in the written work and emerge for the philosophical reader, who will be able to find the dynamics of thought underlying the text on the page? To answer this question, this study will examine the works of Plato, Michel de Montaigne and Jacques Rancière. Each of these authors mobilizes specific figures or characters and writings to give access to the characteristic gestures of the « ignorant master ». They develop and teach a singular relationship with knowledge, breaking with earlier philosophies and with the scholarly discourse of their time. This thesis defends the idea that the relationship between the ignorant master and his disciple is analogous, in the works of each of these philosophers, to that of the text with its reader, insofar as they express, each in their own manner, the philosophical gestures of their author. The first part of this thesis analyzes the nature and functions of the figures or characters, gestures and philosophical writings present in the texts of these authors. The following three parts demonstrate how the philosophical and pedagogical power of their works builds on the coherence between these gestures, figures and writings of the ignorant schoolmasters.

Thesis advisor: John Baldovin / Thesis (STL) — Boston College, 2012. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Contrairement à la conception traditionnelle de la figure poétique considérée soit comme simple ornement du discours soit comme écart par rapport à un niveau ordinaire et neutre du langage, la poésie de Victor Hugo et de Michel Deguy incite à penser le langage figuré et le langage ordinaire dans leur continuité, en les opposant à l’absence du langage. Ce travail tend à circonscrire le langage figuré à partir des représentations de l’indicible et de l’invisible dans Les Contemplations de Victor Hugo et dans l’œuvre poétique et théorique de Michel Deguy qui dévoilent la nature collective profonde du langage, de la perception et de la pensée. De là, les racines rhétoriques et herméneutiques du langage permettront de nourrir une réflexion sur le phénomène de partage comme articulation entre le subjectif et l’intersubjectif, entre l’intime et le commun et entre la sensation, l’affect et la forme. L’objet du partage intersubjectif se dessine dans la forme élémentaire de l’affect étendu de la douleur à la joie, du bon au mauvais et de la pitié à la jouissance. La réunion de la pensée du corps et de l’abstraction au sein d’une pensée de l’éthique constitue une proposition de relecture des deux poètes de la menace d’une apocalypse à la fois langagière, conceptuelle et morale. / Contrary to the dominant conception of the poetic figure as a simple discourse ornament or as a stylistic deviation from the ordinary and neutral language, Victor Hugo’s and Michel Deguy’s poetry leads to a continuity between ordinary and poetic language by jointly contrasting both of them to absence of language. This work tends to define poetic language on the basis of representations of the unspeakable and the invisible in Victor Hugo’s Les Contemplations and in Michel Deguy’s poetic and theoretical writings, revealing deep collective nature of the language, perception and reasoning. Rhetoric and hermeneutic roots of language then enable contemplation on the act of sharing that reflects a joint between subjective and intersubjective, intimate and common as well as between affect and form. The object of a sharing act is being drawn within the elementary form of the affect, laying between pain and joy, the good and the bad, and, finally, pity and sexual pleasure. The junction of the concept of body with the concept of abstraction as an ethical problem contributes to a new comprehension of these two poets of approaching linguistic, conceptual and moral apocalypse.

This thesis will look at the depiction of the Achilles and Troilos death myth on the Attic Black-Figure “Tyrrhenian” Group and its possible influence in Etruria from the mid 6th century BC to the Hellenistic period. The appearance of this Attic-made export ware in Etruscan sites of the 6th century BC, distribution of extant group pots with known provenance along with the emulation of the “Tyrrhenian” neck-amphora style and narrative frieze content in mid to late 6th century BC Etruscan pottery supports evidence for the popularity of the group amongst the Etruscan population. I will approach my investigation in Chapter Three by first giving an overview of the construction and decoration of the Attic-made “Tyrrhenian” Group and listing the variety of traits that characterize this group as being a true case of Athenian export product to Etruria. In Chapter Four I will focus on the appearance of the Achilles and Troilos myth on pots of the “Tyrrhenian” Group and trace the development of the myth’s iconography in Greek art starting in the mid 7th century BC. In Chapter Five I will focus on the appearance of the myth in Etruscan art in the mid 6th century BC and its subsequent development in Etruscan mythology through the analysis of Etruscan-made specimens. I will also attempt to give a reasoning behind the Etruscans’ adaptation of the Greek myth into their corpus. / Thesis (Master, Classics) -- Queen's University, 2009-09-22 13:27:11.548