In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

Ce mémoire de recherche-création tente de saisir l'importance de la notion de « genre » sur la réception d'un film. La première partie d'un long-métrage a été réalisée afin d'être présentée tantôt comme documentaire, tantôt comme faux-documentaire à différents groupes de discussion. Cette création présente un contenu filmé à même le « réel », mais emprunte aux codes formels nouvellement institutionnalisés du « faux-documentaire ». Le « genre », incluant dans sa définition le para-texte nécessaire à la distribution d'un film, créerait des attentes chez les spectateurs en leur offrant, en amont du visionnage, une promesse. Cet engagement signé par l'énonciation d'une oeuvre influence-t-il sa réception jusqu'à en contraindre les diverses interprétations possibles? La dichotomie, installée par la raison classique, entre le vrai et le faux (la réalité et la fiction), suppose-t-elle une différence de réception pour un même contenu? Et est-ce que seuls le genre et les codes formels lui étant associés suffisent à tromper le spectateur quant à la nature de l'histoire racontée? Les entretiens réalisés suscitent de riches et abondantes réflexions. Elles accordent notamment, dans la définition du « genre », une importance surprenante aux codes cinématographiques, par rapport au simple terme technique employé. En effet, les conventions formelles altèrent davantage la réception que seule l'appellation, « documentaire » ou « faux-documentaire », émise. Cette dernière, appelée en début de séance, est remise allègrement en question. Par contre, les codes, affirmation davantage implicite qu'explicite dans leur façon de définir l'oeuvre, atteignent plus facilement leur cible. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Genre, Attentes, Réception, Rapport entre réalité et fiction, Documentaire, Faux-documentaire, Codes cinématographiques.

The creation of an Enterprise Search system involves many challenges that are not present in Web search. Searching a corporate collection is influenced both by the structure of the data present in the collection and by the policies of the corporation. These structures and policies may differ from corporation to corporation, and from collection to collection. In particular, an Enterprise Search system must take a document's genre into account. Examples of document genre within a corporate collection might include FAQs, white papers, technical reports, memos, emails and chat messages. Depending on an individual's current work task, it might be appropriate to give one genre a greater weight than another during the processing of a search request. Moreover, this weighting may change as the individual's work task changes. The work presented in this thesis adapts the Okapi BM25 scoring function to weight term frequency based on the relevance of a document genre to a work task. The method utilizes two user-provided resources, relevance judgments and clickthrough data, to estimate a realistic weight for each task-genre relationship. Using this approach, the method matches the purpose of each user search request with the purpose of each document. Therefore, the proper documents are returned to the user and her/his need can be fulfilled. The method has been incorporated into a prototype search engine, X-site, currently deployed on a corporate intranet. X-Site is a contextual search engine that uses the relationships between work tasks and document genres to improve search precision for software engineers. The system provides a customized and user-controlled means of refining search results to suit the task context of a user. Through X-Site, each employee can make a single search request and has access to documents from the Internet, a corporate intranet, and Lotus Notes databases.

Syftet med den här studien är att undersöka om det går att kombinera genrepedagogik och bedömningsmatriser och vilka för- och nackdelar det kan innebära för dels pedagogen, dels eleverna. Uppsatsen innehåller en sammanfattning av aktuell forskning på området. I studien presenteras en beskrivning av arbetet med cirkelmodellen kring den argumenterande genren parallellt med införandet av en bedömningsmatris i en grupp vuxenstuderande. Dessutom genomfördes en enkät med elevgruppen för att ta reda på deras åsikter om arbetet. Resultatet av den presenteras i studien.    Undersökningens resultat visar att bedömningsmatriser och genrepedagogik är en gynnsam kombination, framförallt för pedagogen. Det är en bra grund för en systematisk och likvärdig bedömning av en grupps egenproducerade texter men även ett bra underlag för ett lärande samtal mellan pedagog och inlärare. Elevernas nytta av kombinationen blir större om matrisens innehåll är formulerat på en lämplig språklig nivå.

The creation of an Enterprise Search system involves many challenges that are not present in Web search. Searching a corporate collection is influenced both by the structure of the data present in the collection and by the policies of the corporation. These structures and policies may differ from corporation to corporation, and from collection to collection. In particular, an Enterprise Search system must take a document's genre into account. Examples of document genre within a corporate collection might include FAQs, white papers, technical reports, memos, emails and chat messages. Depending on an individual's current work task, it might be appropriate to give one genre a greater weight than another during the processing of a search request. Moreover, this weighting may change as the individual's work task changes. The work presented in this thesis adapts the Okapi BM25 scoring function to weight term frequency based on the relevance of a document genre to a work task. The method utilizes two user-provided resources, relevance judgments and clickthrough data, to estimate a realistic weight for each task-genre relationship. Using this approach, the method matches the purpose of each user search request with the purpose of each document. Therefore, the proper documents are returned to the user and her/his need can be fulfilled. The method has been incorporated into a prototype search engine, X-site, currently deployed on a corporate intranet. X-Site is a contextual search engine that uses the relationships between work tasks and document genres to improve search precision for software engineers. The system provides a customized and user-controlled means of refining search results to suit the task context of a user. Through X-Site, each employee can make a single search request and has access to documents from the Internet, a corporate intranet, and Lotus Notes databases.

In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

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I den här uppsatsen undersöks dagens romantiska Hollywoodkomedier och deras koppling till 1930- 40-talets screwballkomedier. The Proposal (2009), The Ugly Truth (2009), Leap Year (2010), samt What Happens in Vegas (2008) analyseras i syfte att urskilja likheter och skillnader dem emellan och för att urskilja en ny cykel av filmer. Det här är en genrestudie med fokus på konventioner och teman som tas upp genom tidigare forskning samt genom analys av de valda filmerna, och genom att diskutera filmernas koppling till samhället sätts genren i ett bredare perspektiv.

This essay is about film music and how people react in a study where the music and picture comes from two different genres that both has unique conventions, of how the “standard” music ought to be composed. The purpose of this essay is mainly to try and get an understanding of film music’s importance in the movies dramatic structure, and how people react when the conventions of music is broken and two genres are combined into one.The questions that are to be answered in this essay are: *how could music as a tool change the character of a film? *How does the participants, of this inquire, experience the film depending on what music they hear? *And what is it that the participants think that the music brings to the movies narration?The method of this survey is based on a number of participants that have responded on questions of how they experienced the movie, both with music and without. This study has shown that when music and picture, which comes from different genres, interact with each other it tends to create comical features and a sense of that the music has an advantage in terms of the genre that people feel that the film has.

<p>Då TV-reklam idag är ett frekvent inslag i de kommersiella TV-kanalerna ville vi ta reda på vilken typ av reklamfilm som uppfattades som mest lämpad vid varumärkesbyggande. För att ta reda på detta valde vi att genomföra kvalitativa djupintervjuer med sex personer, tre kvinnor och tre män, i åldrarna 18 - 65 år. Vi valde att avgränsa oss till de tre genrerna humorreklam, känsloreklam och kändisreklam, och valde ut två reklamfilmer inom varje genre som vi ansåg representativa för respektive genre. Vi valde att använda oss av semiotik och brand equity som teoretisk ansats då vi ansåg att de passade väl in i vår studie.</p><p>Under intervjuerna visade vi reklamfilmerna för intervjupersonerna och ställde därefter frågor utifrån två förutbestämda frågeområden; varumärke och reklamfilmsgenre. Majoriteten av intervjupersonerna ansåg att humor var den genre som var mest lämpad vid varumärkesbyggande, men när det gällde personligt tyckande visade det sig att humor och känsloreklam var lika mycket uppskattade. Flertalet av intervjupersonerna var överens om att val av reklamfilmsgenre var sammanlänkat med den typ av produkt som marknadsfördes. Vi kunde även urskilja att ett antal intervjupersoner ansåg att reklamfilmer till en viss grad bidrar till att intervjupersonerna skulle välja den marknadsförda produkten framför en likartad. En tendens vi fann inom kändisreklam var att om intervjupersonerna själva har en negativ uppfattning om kändisen i reklamfilmen från början så är inte det en faktor som påverkar varumärket och företaget på ett negativt sätt. En övergripande tendens vi kunde urskilja var att varumärket måste utstråla positiva associationer för att skapa värde hos TV-tittaren.</p>