No description available.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1978.

Face recognition under illumination is really challenging. This dissertation proposes four effective methods to produce illumination-invariant features for images with various lev- els of illuminations. The proposed methods are called logarithmic fractal dimension (LFD), eight local directional patterns (ELDP), adaptive homomorphic eight local directional pat- terns (AH-ELDP), and complete eight local directional patterns (CELDP), respectively. LFD, employing the log function and the fractal analysis (FA), produces a logarithmic fractal dimension (LFD) image that is illumination-invariant. The proposed FA feature- based method is an effective edge enhancer technique to extract and enhance facial features such as eyes, eyebrows, nose, and mouth. The proposed ELDP code scheme uses Kirsch compass masks to compute the edge responses of a pixel's neighborhood. It then uses all the directional numbers to produce an illumination-invariant image. AH-ELDP first uses adaptive homomorphic filtering to reduce the influence of illumi- nation from an input face image. It then applies an interpolative enhancement function to stretch the filtered image. Finally, it produces eight directional edge images using Kirsch compass masks and uses all the directional information to create an illumination-insensitive representation. CELDP seamlessly combines adaptive homomorphic filtering, simplified logarithmic fractal dimension, and complete eight local directional patterns to produce illumination- invariant representations. Our extensive experiments on Yale B, extended Yale B, CMU-PIE, and AR face databases show the proposed methods outperform several state-of-the-art methods, when using one image per subject for training. We also evaluate the ability of each method to verify and discriminate face images by plotting receiver operating characteristic (ROC) curves which plot true positive rates (TPR) against the false positive rates (FPR). In addition, we conduct an experiment on the Honda UCSD video face database to simulate real face recognition systems which include face detection, landmark localization, face normalization, and face matching steps. This experiment, also, verifies that our proposed methods outperform other state-of-the-art methods.

No description available.

Les poèmes des Illuminations d'Arthur Rimbaud sont traversés par l'imaginaire de la marche qui se forme à partir des réseaux d'images qui insufflent le rythme de la prose. La figure du marcheur est à la fois locuteur passif devant un monde en marche et personnage en acte dans les territoires mouvants et les paysages poétiques des Illuminations. La marche est toujours sous-entendue dans les thèmes abordés par le poète, elle est un mouvement qui s'incarne dans un corps. Le recueil est mis en marche par le mouvement des corps, par le rythme scandé de la prose et par les nombreuses figures de promeneurs qui sillonnent l'espace. Le périple des Illuminations est à la fois vécu et rêvé, il donne lieu à des départs et à des fuites hors de tout lieu, complètement situé dans l'espace et dans la durée. Marche du monde, marche des corps, marche à l'écriture, le présent mémoire propose une lecture interprétative des Illuminations qui s'organise en trois chapitres, le premier mettant en perspective les diverses figures du marcheur présentes dans le recueil, le second retraçant les références au corps en marche dans les textes et le troisième explorant les nombreux départs et impulsions qui précèdent toute marche dans les Illuminations. Le but étant de retrouver la relation entre la marche et l'écriture à travers les textes des Illuminations. ______________________________________________________________________________

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Rédigée dans la première moitié du XIIIe siècle, la Suite Vulgate est une continuation du Merlin en prose qui constitue la dernière pièce du cycle du Graal. Partagée entre le déroulement de la vie de Merlin, qui lui donne une unité de type biographique, et la peinture de la jeunesse héroïque du roi Arthur, cette suite rétrospective sert de transition vers le Lancelot. Son succès s'affirme aux dépens d'autres continuations du Merlin dont la transmission manuscrite semble par comparaison marginale, et dont le projet demeure parfois inabouti. Ces différentes rédactions exposent la dynamique d'écriture et l'émulation suscitées par le développement de la prose arthurienne et l'effort de mise en cycle. L'étude de la mise en recueil, de la mise en page et de l'illustration des manuscrits comprenant le Merlin et ses suites éclaire le mode de production et de réception de ces oeuvres qui continuent d'être copiées et enluminées tout au long du Moyen Age. Le Merlin et la Suite Vulgate, le plus souvent intégrés à des compilations centrées sur l'histoire du Graal, entretiennent un lien particulier avec le Joseph d'Arimathie, l'Estoire del saint Graal et les Prophéties de Merlin, mais circulent aussi dans des recueils d'ambition didactique ou historique. Si l'écriture de la Suite Vulgate favorise l'intégration cyclique du Merlin propre, ces textes et leurs programmes iconographiques développent une veine militaire et historique qui interroge leur appartenance générique et tranche avec l'orientation religieuse ou courtoise des autres oeuvres de la Vulgate arthurienne. / The Vulgate Sequel to the French prose Merlin was composed in the first half of the XIIIth century and is the last piece of the Grail cycle. It creates a wider story encompassing the life of Merlin and the beginnings of King Arthur’s reign and serves as a prequel to the prose Lancelot. The Vulgate Sequel is the most widespread, but the existence of different sequels demonstrates the poetic dynamism and the rivalry produced by the development of Arthurian prose romances and their cyclification. Our study of the manuscript collections including Merlin and its sequels, of their mise en page and illuminations sheds new lights on the production and reception of works which were copied throughout the Middle Ages. Merlin and its Sequel are mostly transmitted in compilations focusing on the history of the Grail: they have a particular relationship to the Joseph of Arimathia, the Estoire del saint Graal and the Prophecies of Merlin. In some manuscripts, Merlin and its Sequel are copied with texts which do not belong to the Arthurian tradition, such as hagiographies or pastoral works, demonstrating their religious and didactic interest. Other compilations stress their historical and chivalric aspect. The Vulgate Sequel and its illumination accentuate the historical aspect of Merlin while giving an epic flavour to the beginnings of King Arthur's reign. This spirit might contradict the perspective of its integration in the romance Vulgate cycle, but it echoes the missionary dimension of the Estoire del saint Graal and resonates with the military conflicts of Lancelot and of the Mort le roi Artu.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.