Esta tese propõe cinco construções para linguagens orientadas a objetos. Algumas delas podem ser implementadas por meio de pré-processadores. Estas construções são: visão de classe, adaptador, extensão de classe, Shell dinâmico e extensão dinâmica. Todas elas são baseadas no conceito de filtro, que e um objeto que intercepta as mensagens enviadas a um outro objeto. Visão de classe permite corrigir interpretações incorretas da semântica de uma classe no código de outras classes. Um filtro é usado para traduzir as mensagens para o significado correto. Adaptadores permitem mudar o tipo de um objeto através de um filtro e são usados para acoplar classes que, de outra forma, seriam incompatíveis quanto a tipos. Extensão de classe permite adicionar métodos e variáveis de instancia a classes sem a necessidade de edição do código fonte destas. Shell dinâmico e extensão dinâmica possuem algumas das características de meta-objetos e meta-classes, respectivamente. Eles formam um modelo reflexivo estaticamente tipado. Shell dinâmico permite redirecionar todas as mensagens enviadas a um objeto e extensão dinâmica permite substituir métodos de uma classe em tempo de execução. Todas as construções são originais, podem ser adicionadas em uma linguagem estaticamente tipada sem danificar o sistema de tipos e resolvem alguns problemas descritos na literatura de orientação a objetos. / This thesis proposes five constructions for object-oriented languages. Some of them can be implemented using a preprocessor. These constructions are: class view, adapter, class extension, dynamic shell, and dynamic extension. All of them are based in the concept of filter, that is an object that intercepts the messages sent to another object. Class view allows correcting misinterpretations about the semantics of a class in code of other classes. A filter is used to translate the messages to the correct semantics. Adapters allow changing the type of an object through a filter and are used to glue type incompatible classes. Class extension allows adding methods and instance variables to classes without editing the source code of these classes. Dynamic Shell and dynamic extension have some of the characteristics of meta-objects and meta-classes, respectively. They compose a statically typed reflective model. Dynamic shell allows to redirect all messages sent to an object and dynamic extension allows replacing methods of a class at run time. All constructs are original and can be added to a statically typed language. They solve some problems described in the object-oriented literature.

See file 01 / Art History, Visual Arts & Music / (M.A. (Visual Arts))

馬克斯‧韋伯曾經表示儒家文化是阻礙儒家國家成為「現代化國家」的障礙，因為儒家思想要求安定的特性和現代化的條件正好衝突，所以即使在最有利的條件下，儒家社會也不能變成現代社會。然而發展起步較晚,屬于儒家文化圈一環的東亞國家如台灣、新加坡、香港，以及大韓民國卻仍舊表現出令人稱羨的經濟發展，更擠身於現代國家之列。就連信奉基督教的已故總統金大中也表示韓國的成功和韓國人的儒家特徵有重要關係。 但即便大韓民國是亞洲較早實現了現代化的一個國家，而且已經是世界第十三大經濟體，然而也必須承認這個國家的現代化之路歷經坎坷。在日本殖民和韓國內戰的影響下，一直到1962年開始才恢復經濟建設，並且因為資源的匱乏使得大韓民國的發展在初期不被任何人看好。可今天的大韓民國不僅在經濟上實現了突破，在儒家文化的傳承上也讓海峽兩岸炎黃子孫自嘆不如，它的成功經驗或者失敗教訓，對於兩岸來說都是一筆非常重要的財富，值得借鑑。 / Max Weber once stated that Confucian culture was the main drawback to the modernization of a country. Therefore, even under the most favorable conditions, the Confucian society is still unable to turn modern. However, in the East-Asian Confucian cultural circle, some of the late-developing countries, like Taiwan, Singapore, Hong Kong and South Korea, who are traditionally considered heavily influenced by the Confucian culture, show a tremendous development in their economy and are becoming one of the modern countries in the world. Just as President. Kim Dae Jung said although like South Korea is under the influence of the Confucianism, Confucian culture, undoubtedly, still makes positive contributions to the development. Typically, the success of South Korea is the most compelling evidence of the modernization of a Confucian country. Even though the Republic of Korea has become the most modern country and the 13th largest economic structure among the Asia country, they must also recognize that there are few fluctuations to achieve modernization. The influence of the Japanese colonial and the civil war in Korea have caused the recovery of economic started in year 1962. Besides that, people did not have a high expectation for this development because of the lack of resources. However, today, not only the economy of Republic of Korea to accomplish a breakthrough in the Confucian cultural heritage, but also to the Chinese people across the Taiwan Straits. Its success and failures, worth learning.

Mireille Havet, née en 1898, rencontre très tôt le succès grâce à ses poèmes. Proche d'Apollinaire et de Cocteau, elle se fait une place dans le milieu littéraire de l'époque. Parallèlement à ses poèmes, et à son roman publié en 1923, elle écrit un journal intime, qu'elle commence alors qu'elle est encore adolescente. Forte de ses succès de jeunesse, la jeune femme se laisse alors peu à peu rattraper par la vie : les femmes et les drogues, ses deux grandes passions, l'entraînent dans un tourbillon dont elle peine à s'extraire pour produire la grande œuvre dont elle rêve. Résignée, au fil des années, elle se concentrera sur la rédaction de son journal, devenu le seul support s'accordant avec son mode de vie, sa mélancolie et son addiction de plus en plus extrême aux drogues. Elle tente alors de transcrire son âme dans ses carnets intimes, de " dire et révéler [son] monde " intérieur. Ce projet, s'il n'est pas celui, idéal, de l'œuvre fantasmée, contient cependant toute la poésie de Mireille Havet et s'avère, après relecture, former un " tout complet ", presque à l'insu de son auteur. Ce journal peut-il alors remplacer la grande œuvre avortée dont la diariste a toujours rêvé ?

This work examines and presents evidence for the existence of a gap in epistemological views between academic and practice marketers. Few if any academics would seem to challenge the ‘gap’ premise but the importance of any gap and its nature are issues about which little agreement exists. The intractable nature of the academic practitioner gap has a long history of interesting and diverse debate ranging from Dewey’s argument about the true nature of knowing to contributions based on epistemic adolescence, ontological differences and more pragmatic suggestions about different tribes. Others include the rigour versus relevance issue, failures in curriculum or pedagogy and a clash between modernist and postmodernist epistemologies. Polanyi’s description of tacit versus explicit knowledge further extends the debate as do issues of knowledge creation and dissemination in particular through Nonaka. Irrespective of approach actual evidence for a gap was largely based on argument rather than empirical proof. This work address that lack. The intractability of the gap suggests that it is at root, epistemic. To identity the existence of a gap in such terms a domain specific epistemic questionnaire developed by Hofer was used. A factor analytic process extracted a common set of factors for the domain of marketers. Five epistemic factors were identified. Three of these showed significant difference in orientation between practitioners and academics confirming that the theory practice gap is tangible and revealing an indication of its nature Broadly results from factor analysis with interpretation informed by factor item structure and prior theoretical debate suggests that academics and practitioners views on knowledge and how they come to know share similarities and differences. Academics are more likely to see knowledge as stable, based on established academic premise legitimized from academy. Practitioners are more likely to see knowledge as emerging from action, as dynamic and legitimised by results. Other significant findings included the emergence of dialogue as a means of closing the gap, and the emergence of a group of academics with significant practice experience termed here as, hybrids, who are located in the Academy but mostly share their epistemic views with practitioners. Correlation analysis showed that academic propensity to engage in dialogue with practice moved academic factor scores towards practitioners. This shows that dialogue has a clear role in both perpetuating the gap in its absence or reducing it. Fundamentally dialogue plays a clear role in bridging the two epistemologies and in providing for additional epistemic work. Finally a solution to bridging the gap has been proposed. The model called dialogic introspection melds dialogue and introspection to create epistemic doubt, the volition to change and a means of resolution. The model avoids prescription of what form knowledge should take but instead adopts a stance similar to more mature disciplines like medicine in which the status of academic work is enhanced in line with its relevance to practice which itself is embodied in dialogue. This approach recognizes the centrality of epistemology as shaping the conditions necessary for recognizing epistemologies as hierarchies in which the epistemology most capable of additional epistemic work is the most desirable. Such an epistemology would have the capacity to add epistemic work and reinforces Nonaka’s call for epistemology to be recognized as central to knowledge creation.

Si le rapport entre Derrida et Bergson n’a pas fait l’objet de nombreuses études, les commentaires existants témoignent à peu près tous d’une vision commune : entre les deux philosophes, les divergences peuvent être atténuées, voire dissoutes, par la considération de convergences plus fondamentales. Les pages qui suivent seront l’occasion pour nous de faire contrepoids à cette vulgate interprétative. Sans nier l’existence de points de contact entre Derrida et Bergson, nous voudrions en effet montrer qu’un important désaccord subsiste entre eux au sujet de la possibilité de l’intuition. Alors que Derrida met en cause les doctrines intuitionnistes, Bergson érige l’intuition en méthode philosophique. Le présent mémoire prendra pour fil conducteur les motifs de cette discorde. Réduit à sa plus simple expression, l’objectif que nous y poursuivrons sera de montrer que les pensées bergsonienne et derridienne, lorsque mises en dialogue, révèlent un désaccord partiel qui permet de réfléchir de façon féconde sur la possibilité de l’intuition. Pour être plus exact, nous caresserons ici une triple ambition : i/ cerner étroitement l’objet du litige entre Derrida et Bergson, trop peu souligné par les commentateurs, et dont nous montrons qu’il s’articule à une entente partielle ; ii/ tirer au clair les diverses raisons qui amènent l’un à s’en prendre à l’intuition, l’autre à embrasser la méthode intuitive ; iii/ établir que certains arguments de Bergson, bien qu’ils connaissent un regain d’intérêt depuis quelques années, paraissent lacunaires lorsqu’on les confronte à différentes objections. / Although studies of the relation between Derrida and Bergson are few and far between, they nearly all share a common vision: that of attenuating – or even altogether eliminating – the divisions between the two philosophers’ thought, by considering their more fundamental convergences. The following pages will allow us to counterbalance this common interpretation. Without denying the points that Derrida and Bergson do have in common, we will show an important divergence in opinion between the two on the idea that intuition is possible and founded. While Derrida lays doubt on intuitionist doctrine, Bergson establishes intuition as a philosophical method. This thesis examines the motives behind this divergence. Put simply, a comparison of Derridian and Bergsonian thought reveals a partial disagreement that enables fruitful reflection about whether or not intuition is possible. More precisely, we pursue three objectives here: i/ to clearly identify the scope of the disagreement between Derrida and Bergson, often overlooked by previous commentaries, showing that it includes a partial agreement; ii/ to clarify the diverse reasons leading Derrida to deny the very existence of intuition while Bergson embraces intuition as a philosophical method; and iii/ to show that certain Bergsonian arguments, although enjoying a resurge in interest in recent years, appear unable to stand up to several different objections.

L’autoportrait de Paul-Émile Borduas, unique expérience de ce genre artistique dans sa carrière, s’avère représenter une étape charnière dans sa construction personnelle et artistique. Notre étude s’amorce par la description formelle du tableau, l’identification du processus de création, l’analyse du problème de datation et la réflexion sur les influences et assimilations stylistiques. Les nombreux indices détectés sont exploités pour mettre en évidence la mutation des statuts intime et professionnel. À partir d’une introspection et d’un itinéraire spirituel, Borduas tente d’extérioriser sur la toile la complexité de sa personnalité et sa quête d’identité. Le tableau est révélateur de l’établissement d’un Moi accompagné d’un code d’expression personnel du peintre. Par ailleurs, il s’inscrit au démarrage d’une œuvre qui va participer à l’émergence progressive de la modernité artistique et sociale du Québec à partir des années 1930. L’artiste semble affirmer son statut professionnel en développant des stratégies qui allient, d’une part, tradition et modernité, et, d’autre part, incertitudes et volonté d’émancipation. En choisissant de se représenter lui-même dans son propre langage pictural et son code d’expression personnel, Borduas pose les jalons de son identité et s’impose comme artiste-peintre dans une société québécoise en voie de modernisation. / The self-portrait of Paul-Émile Borduas, unique experience in this artistic genre in his carrier, represents a milestone in his personal and artistic career. This work begins by the formal description and the study about stylistic influences and assimilations. Many key points are detected and exploited to bring out the mutations of intimate and professional status. From introspection and spiritual itinerary, Borduas tries to externalize on canvas the complexity of his personality and his quest for identity. The canvas is indicative of the establishment of an “ego” accompanied by a personal code of expression as a painter. Moreover, he built a canvas that will participate in the gradual emergence of the artistic and social modernity of Quebec from 1930. The artist seems to assert its professional status by developing strategies that combine on the one hand, tradition and modernity, and, on the other hand, uncertainty and desire for emancipation. By choosing to represent himself in his own pictorial language and his personal code of expression , Borduas lays the foundation of his identity and stands out as a painter in Quebec society in the progress of modernization.

Etude des résolutions de problèmes mathématiques par des personnes parvenues au stade hypothético-déductif exprimées par un discours. Présentation d'un outil pour l'étude des raisonnements naturels.

The aim of the current study was to investigate the roles of meta-mood experience on the mood congruency effect in recognizing emotions from neutral facial expressions. For this aim, three scales were translated and adapted to Turkish, namely Brief Mood Introspection Scale (BMIS), State Meta-Mood Scale (SMMS), and Trait Meta-Mood Scale (TMMS). The reliability and validity analyses came out to be satisfactory. For the main analyses, an experimental study was conducted. The experimental design consisted of the administration of the Brief Symptom Inventory, Pre- induction Brief Mood Introspection Scale, Trait Meta-MoodScale, and Basic Personality Traits Inventory in the first step, followed by a sad mood induction procedure and the administration of Post- Brief Symptom Inventory, and State Meta-Mood Scale in the second step. The last step consisted of the administration of the NimStim Set of Facial Expressions. For the main analyses regarding mood congruency only the v mislabelings of neutral faces as sad or happy were considered. The results revealed that among personality traits Agreeableness was negatively associated with perceiving fast displayed neutral faces as sad. After controlling for personality traits / however, unpleasant mood measured before the mood induction procedure was positively associated with perceiving neutral faces as sad. When perceiving slow displayed neutral faces as happy were examined, it was found that anxiety was positively associated with such a bias. After controlling for symptomatology, among personality traits, extraversion and conscientiousness were found to be negatively associated with mislabelling slow displayed neutral faces as happy. Among the evaluative domain of the SMMS, typicality was found to be negatively associated with such a bias / and lastly, among the regulatory domain of the SMMS, emotional repair was found to be negatively associated with mislabelling slow displayed neutral faces as happy.

L’autoportrait de Paul-Émile Borduas, unique expérience de ce genre artistique dans sa carrière, s’avère représenter une étape charnière dans sa construction personnelle et artistique. Notre étude s’amorce par la description formelle du tableau, l’identification du processus de création, l’analyse du problème de datation et la réflexion sur les influences et assimilations stylistiques. Les nombreux indices détectés sont exploités pour mettre en évidence la mutation des statuts intime et professionnel. À partir d’une introspection et d’un itinéraire spirituel, Borduas tente d’extérioriser sur la toile la complexité de sa personnalité et sa quête d’identité. Le tableau est révélateur de l’établissement d’un Moi accompagné d’un code d’expression personnel du peintre. Par ailleurs, il s’inscrit au démarrage d’une œuvre qui va participer à l’émergence progressive de la modernité artistique et sociale du Québec à partir des années 1930. L’artiste semble affirmer son statut professionnel en développant des stratégies qui allient, d’une part, tradition et modernité, et, d’autre part, incertitudes et volonté d’émancipation. En choisissant de se représenter lui-même dans son propre langage pictural et son code d’expression personnel, Borduas pose les jalons de son identité et s’impose comme artiste-peintre dans une société québécoise en voie de modernisation. / The self-portrait of Paul-Émile Borduas, unique experience in this artistic genre in his carrier, represents a milestone in his personal and artistic career. This work begins by the formal description and the study about stylistic influences and assimilations. Many key points are detected and exploited to bring out the mutations of intimate and professional status. From introspection and spiritual itinerary, Borduas tries to externalize on canvas the complexity of his personality and his quest for identity. The canvas is indicative of the establishment of an “ego” accompanied by a personal code of expression as a painter. Moreover, he built a canvas that will participate in the gradual emergence of the artistic and social modernity of Quebec from 1930. The artist seems to assert its professional status by developing strategies that combine on the one hand, tradition and modernity, and, on the other hand, uncertainty and desire for emancipation. By choosing to represent himself in his own pictorial language and his personal code of expression , Borduas lays the foundation of his identity and stands out as a painter in Quebec society in the progress of modernization.