Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This dissertation explored visual representations of death in the photographic work of Andres Serrano and Joel-Peter Witkin, as well as the MAFA candidate's (David Buchler) own art practice. It looked at historical overviews of representations of death from the Middle Ages to present, as a means of contextualising and locating the reasons as to how images came to be the way they are in the present. Selected artworks were examined with particular theoretical reference to Phillipe Ariès' investigation into the changing attitudes towards death in Western society and Julia Kristeva's abjection theory. This dissertation focuses on the abjection of death and more specifically the corpse and the treatment of it in the work of Serrano and Witkin. This project explored some of the reasons why the images in this dissertation may be seen as disturbing and confrontational. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

The Victorian obsession with the child is also often, in the world of literary criticism at least, an obsession with death, whether the death of the child itself or simply the inevitable death of childhood as a seemingly Edenic state of being. This study seeks to consider the way in which the child figure, in texts by four authors published at the end of the nineteenth century, is aligned with an inversion of this relationship. For Walter Pater, Vernon Lee, George MacDonald, and Henry James, the child is bound up instead with un-death, with a construction of death which seeks to remove the finitude, even the mortality, of death itself, or else a death which is expected or anticipated, yet always deferred. While in “The Child in the House” (1878) and “Emerald Uthwart” (1892), Pater places the child at the nexus of his construction of a death which is, rather than a finite ending, a return or a re-beginning, Lee's interest in the child figure's unique access to a world of art, explored in “The Child in the Vatican” (1883) and “Christkindchen” (1897) culminates in a dazzling vision of aesthetic transcendence with “Sister Benvenuta and the Christ Child” (1906). MacDonald, for whom death is already never really death, uses the never-dead child figure in At The Back of the North Wind (1871) and Lilith (1895) as an embodiment of his own distinct engagement with aestheticism, as well as a means by which to express the simultaneous anticipation and depression he experienced in contemplation of death. Finally James, in What Maisie Knew (1897), explores the child's inherent monstrosity as he crafts the possibility of a childhood which consciously refuses to die. This study explores a trajectory in which the child’s place within such reconsiderations of death grows increasingly intense, reaching an apex with MacDonald’s fantastic worlds, before considering James’s problematisation of the concept of the un-dead child in What Maisie Knew.

Ultra-wide band (UWB) 6-9 GHz antenna, band pass filter and low-noise amplifier (LNA) optimization using co-simulation of the RF front-end. At higher frequencies, carefully conducted design methodologies are required for RF front-end parameter optimization, such as power gain and low noise figure with low power consumption.

In this essay I have chosen to take a closer look at gold figure foils (Swedish “guldgubbar”), find their context and analyze it. I have analyzed some earlier studies about gold figure foils that were found in Scandinavia. The focus of my study is based on the locations of the findings. Another important aspect is to discuss if the encountered gold figure foils that were folded and cut looked like that due to intentional motives or not. My conclusion is that when it comes to the locations of the findings they are mostly found in houses irrespective of if it´s in a posthole, wall or house foundation. The other conclusion is that the gold figure foils could have intentionally been manipulated before they ended up in the ground.

Flies are highly visually guided animals. In this thesis, I have used hoverflies as a model for studying motion vision. Flies process motion vision in three visual ganglia: the lamina, the medulla, and the lobula complex. In the posterior part of lobula complex, there are around 60 lobula plate tangential cells (LPTCs). Most of LPTCs have large receptive fields where the local direction sensitivity suggests that they function as matched filters to specific types of optic flow. LPTCs connect to descending or neck motor neurons that control wing and head movements, respectively. Therefore, in this thesis I have focused on the electrophysiological responses of LPTCs to gain understanding of visual behaviors in flies. The elementary motion detector (EMD) is a model that can explain the formation of local motion sensitivity. However, responses to higher order motion, where the direction of luminance change is uncorrelated with the direction of movement, cannot be predicted by classic EMDs. Nevertheless, behavior shows that flies can see and track bars with higher order motion cues. I showed (Paper I) that several LPTCs also respond to higher order motion. Many insects, including flies, release octopamine during flight. Therefore, adding octopamine receptor agonists can mimic physical activity. Our study (Paper II) investigated the effect of octopamine on three adaptation components. We found that the contrast gain reduction showed a frequency dependent increase after octopamine stimulation. Since the contrast gain is non-directional, it is likely presynaptic to the LPTC. We therefore believe that octopamine acts on the delay filter in the EMD. In the third paper we describe a novel LPTC. The centrifugal stationary inhibited flicker excited (cSIFE) is excited by flicker and inhibited by stationary patterns. Neither of these responses can be predicted by EMD models. Therefore, we provide a new type of motion detector that can explain cSIFE’s responses (Paper III). During bar tracking, self-generated optic flow may counteract the steering effect by inducing a contradictory optomotor response. Behavior shows that during bar fixation, flies ignore background optic flow. Our study (Paper IV) focus on the different receptive fields of two LPTCs, and relate these to the bar fixation behavior. In the neuron with a small and fronto-dorsal receptive field, we find a higher correlation with bar motion than with background motion. In contrast, the neuron with a larger receptive field shows a higher correlation with background motion.

This study is a critical analysis of Carl Gustav Jung's interpretation of the book of Job. It presents first the methodological approach adopted in Jung's reading of the book of Job and the epistemology at the basis of his enterprise. It then explores the biographical context of Jung's writings on the book of Job followed by the reconstruction of Jung's interpretation of it with reference not only to Antwort auf Hiob ( Answer to Job) published in 1952, but also to other writings. A series of critiques addressed to Jung's reading of the book of Job are analyzed and followed by a careful study of key concepts of Jung's psychology necessary to properly situate his understanding of the book of Job. The latter is the bulk of this study and emphasizes the relevance of the notion of the self and of the individuation process. All this provides the background for an exploration of the positive aspect of the unconscious. Doing so is necessary to put in a new light the experience of Job, and thus the suffering of the righteous or the innocent. The conclusion widens the issue concerning the reality of evil and suffering in its relation to the divine according to Jung, and it suggests some possible research topics for further examination.

This thesis examines three genre high fantasy texts published between 1954 and 2001: J. R. R. Tolkien’s 'The Lord of the Rings', Ursula K. Le Guin’s 'Earthsea' cycle and Patricia A. McKillip’s 'The Riddle-Master’s Game'. The emphasis is on examining how the three texts use a common set of structures to articulate a developing argument about forms of human engagement with the physical world in the face of environmental crisis. Using theories of literary ecology and narrative paradigm, I examine the common structure shared by the three high fantasies and the weight of ethical implications it carries. The texts position the transcendent impulse of the mode of tragedy, and the behaviour it generates, as the source of crisis, and posit as a solution to the problem the integrative ethic characteristic of the comedic mode. They argue that a transition between these two ethics is necessary for the continued survival of the Secondary World. This thesis examines each text’s use of narrative paradigm to articulate methods by which this ethical transition may be achieved. An argumentative trend is documented across the three fantasies through the representation of situation, problem and solution. In each text, as the Secondary World becomes more completely a closed physical system, the source of the solution to the problem caused by the transcendent presence and the achievement of ethical transition are both relocated within the control of human actors. The three fantasies express a gradual movement toward the acceptance of not only human responsibility for, but the necessity for action to remedy, the damaged state of the world. I argue that the texts’ dominant concern is with the human relationship with and to context. Indeed, I argue that the three fantasies reflect the developing understanding of the human role in not only precipitating, but responding to, environmental crisis, and may function as both a reflection of and an intervention in that crisis. / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2004

This thesis examines three genre high fantasy texts published between 1954 and 2001: J. R. R. Tolkien’s 'The Lord of the Rings', Ursula K. Le Guin’s 'Earthsea' cycle and Patricia A. McKillip’s 'The Riddle-Master’s Game'. The emphasis is on examining how the three texts use a common set of structures to articulate a developing argument about forms of human engagement with the physical world in the face of environmental crisis. Using theories of literary ecology and narrative paradigm, I examine the common structure shared by the three high fantasies and the weight of ethical implications it carries. The texts position the transcendent impulse of the mode of tragedy, and the behaviour it generates, as the source of crisis, and posit as a solution to the problem the integrative ethic characteristic of the comedic mode. They argue that a transition between these two ethics is necessary for the continued survival of the Secondary World. This thesis examines each text’s use of narrative paradigm to articulate methods by which this ethical transition may be achieved. An argumentative trend is documented across the three fantasies through the representation of situation, problem and solution. In each text, as the Secondary World becomes more completely a closed physical system, the source of the solution to the problem caused by the transcendent presence and the achievement of ethical transition are both relocated within the control of human actors. The three fantasies express a gradual movement toward the acceptance of not only human responsibility for, but the necessity for action to remedy, the damaged state of the world. I argue that the texts’ dominant concern is with the human relationship with and to context. Indeed, I argue that the three fantasies reflect the developing understanding of the human role in not only precipitating, but responding to, environmental crisis, and may function as both a reflection of and an intervention in that crisis. / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2004

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript.