With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

Uppsatsens syfte var att undersöka de anställdas upplevda orsaker till lågt antal medarbetare med utländsk bakgrund på företaget BYGGET. Företaget är ett av Sveriges större byggföretag och för säkerställandet av anonymitet har de i uppsatsen fått det fiktiva namnet BYGGET. Informationsbrevet skickades ut till ett målinriktat urval av medarbetare med chefspositioner i den lokala verksamheten där slutligen sju (n=7) personer valde att delta. Insamlandet av data gjordes med hjälp av semistrukturerade intervjuer och via en tematisk analys framkom tre huvudsakliga teman med tillhörande underkategorier, vilka ligger till grund för uppsatsens resultatdel. Resultatet visade att företagskultur och utbildning ansågs vara de grundläggande upplevda orsakerna till varför det är ett lågt antal anställda med utländsk bakgrund. Vidare framkom även temat kvotering, som diskuterades i sammanhanget om förändring och hur detta skulle kunna ske. För vidare utveckling av mångfalden på arbetsplatsen måste dels den traditionella påverkan av facket minskas samt att utländska utbildningar på ett enklare sätt måste kunna kvalitetssäkras för att de ska kunna anses valida på svenska byggplatser. / The purpose of this study was to investigate the employees’ experienced reasons of why there are so few workers with other ethnic backgrounds in the organization BYGGET. The organization is one of the largest construction firms in Sweden and to ensure the company’s anonymity they have been given the fictitious name BYGGET. An information letter was sent to a targeted selection of managers within the local office and seven (n=7) people agreed to participate in the study. Data was collected with semi structured interviews which were then analyzed with a thematic method. The analysis revealed three main themes with associated subcategories, which became the foundation of the study’s final results. The results showed that organizational culture and education were the experienced reasons of why there were so few employees with other ethnic background. Further the results showed that quotation also was a theme that was discussed in the event of change and how that could happen. To increase the diversity in the organization the company must decrease the traditional influence of the trade union. Also it must be easier to ensure the quality of educations from other countries so that they will be valid for Swedish construction jobs.

Face à l’œuvre fragmentaire de Lucilius, la recherche s’appuie souvent sur le témoignage d’Horace pour caractériser le primus inuentor. En étudiant les citations de Lucilius chez Varron et Cicéron, nous avons un double objectif : déterminer dans quelle mesure la représentation qu’Horace donne de Lucilius est tributaire de la première réception de son œuvre ; plus largement, étudier l’impact du processus de citation sur la construction d’une figure littéraire, la sélection de certains passages, la réorientation de leur sens et l’insistance sur un aspect de l’œuvre. L’étude du contexte des citations de Lucilius chez Cicéron permet de conclure que le satiriste est avant tout pour l’Arpinate le chantre de la libertas uerborum. Une telle caractérisation se retrouvera chez Horace et plusieurs chercheurs l’associent au contexte de la fin de République. Notre thèse montre cependant qu’Horace, lorsqu’il évoque le franc-parler de son prédécesseur, est en grande partie tributaire d’une construction déjà engagée à l’époque républicaine. Les citations de Cicéron font aussi de Lucilius un poeta doctus et urbanus. Reprenant les conclusions des différents travaux sur l’urbanitas, notre travail éclaire la manière dont cette représentation parvient à s’accorder chez Cicéron avec celle d’un Lucilius liber. Il s’interroge également sur les raisons pour lesquelles la doctrina de Lucilius, mise en lumière par les citations de Cicéron, n’a pas été retenue par l’immédiate postérité. Partant enfin de l’association faite par Horace entre le genre satirique et le sermo, notre étude s’intéresse aux liens établis à l’époque républicaine entre la figure de Lucilius et différents types de sermo (cotidianus, comicus, Platonis et Bioneus). Horace n’est pas directement tributaire de Cicéron et Varron, mais leurs citations, en créant un réseau d’associations, ont favorisé une telle représentation du genre. / Given the fragmentary nature of Lucilius’ works, scholars often rely on Horace’s testimony to describe the primus inuentor. In studying Lucilius’ quotes in Varro’s and Cicero’s writings, we hope to achieve a twofold objective. First, we aim to determine to what extent Lucilius’ depiction by Horace owes to the reception of the former’s œuvre. Then, more broadly, we will analyse the influence of the quotation process on the establishment of a literary figure, the selection of some passages, the change in meaning and the emphasis on a specific features of Lucilius’ work. Quotes of Lucilius by Cicero show that the satirist was in the Arpinate’s opinion above all a figurehead of libertas uerborum. Horace gives a similar portrayal of Lucilius, which academics associate with the context of the end of the Republic. Nevertheless, our thesis argues that, when stressing Lucilius’ outspokenness, Horace adopts a process dating back to the Republican era. Moreover, Cicero makes of Lucilius a poeta doctus et perurbanus. Drawing upon works on the urbanitas, our thesis gives an insight into the way that picture attunes with that of Lucilius liber in Cicero’s works. We also address the issue of omission: why is Lucilius’ doctrina, put into limelight by Cicero, overlooked by immediate posterity? Building on the bond between satirical genre and sermo according to Horace, our thesis dwells eventually on the relationship between Lucilius’ figure during the Republican age and several variations of sermo (cotidianus, comicus, Platonis and Bioneus). Horace is not dependent on Cicero and Varro per say but their quotations act as a system of cross-references, enabling in the end such a view on the genre.

Este trabalho consiste em um portfólio de composição, documentado com partituras e gravações, e um memorial, ambos fundamentados em nove peças escritas entre 2016 e 2017, durante o mestrado em música na Universidade Federal do Rio Grande do Sul. O memorial inicia com comentários breves relativos à música de três compositores que são citados como referências: Richard Wagner, Olivier Messiaen e Krzysztof Penderecki, apontando aspectos de suas obras que influenciaram meu pensamento composicional. Nos capítulos seguintes, cada uma das peças que integram o portfólio é comentada individualmente, fornecendo informações sobre o contexto em que cada obra foi escrita. As peças são discutidas sob o viés da citação, que está presente em todas elas, de formas diferentes, funcionando como material, como recurso estrutural e como recurso expressivo. Além de citações do repertório histórico, utilizei também fragmentos extraídos de um conjunto de canções sacras cantadas pelas Beatas do Cariri, no interior do Estado do Ceará, durante seus atos penitenciais. Serão feitas algumas observações buscando conectar este material folclórico com as intenções expressivas de minhas músicas. Este trabalho expõe uma revisita às peças do portfólio, sob uma nova perspectiva, mais atual, com o objetivo de avaliar suas falhas e suas virtudes. Conclui-se que as citações permitem o diálogo com outras referências, trazendo para minha música características de épocas e lugares distintos, combinando linguagens diversas, e propiciando a criação de uma unidade estilística. / This work consists of a portfolio - vested with scores and recordings - and a memorial, both based on pieces written between 2016 and 2017, during my master's degree in music at Universidade Federal do Rio Grande do Sul. The memorial starts with comments about the music of three composers: Richard Wagner, Olivier Messiaen and Krzysztof Penderecki - describing aspects of his works that influenced my compositional thinking. In the following chapters, each music of my portfolio is presented and discussed, providing information about the context in which each work was written. The pieces are discussed under the bias of the quotation, which is present in all of them - in different forms - working as material, as a structural resource and as an expressive resource. I used, besides the quotations taken from the historical repertoire, fragments extracted from sacred songs sung by the Beatas - in the interior of the State of Ceará - during their penitential acts. Some remarks, trying to connect these quotations with the expressive intentions in my music, will be made. This memorial presents a revisit to these pieces - under a new and current perspective - in order to judge its faults and virtues. It is concluded that the quotations allow the dialogue with many others references, bringing to my music characteristics of different epochs - combining musical languages and styles - and making possible the creation of a particular stylistic unity.

With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

We study the intraday behavior of bid-ask spreads for actively traded TAIEX option in Taiwan. A study of quality of price quotation offered by market makers is important because the market makers have the responsibilities to keep trading costs low and promote price discovery. Due to the observed wider price quotation from market makers, we find that market makers offer inefficient price quotations to fulfill their obligations under requirement of market making. Moreover, ways of quotation market makers choose, indeed, affect the price quotation of market makers. We also find foreign institutional investors (QFIIs) and market makers bear lower execution cost when they deal on TAIEX option market. Overall, despite the large trading volume and increasing liquidity in TAIEX option, our results suggest that market makers do not play an important role to the market liquidity of TAIEX option market as we thought previously. / We study the intraday behavior of bid-ask spreads for actively traded TAIEX option in Taiwan. A study of quality of price quotation offered by market makers is important because the market makers have the responsibilities to keep trading costs low and promote price discovery. Due to the observed wider price quotation from market makers, we find that market makers offer inefficient price quotations to fulfill their obligations under requirement of market making. Moreover, ways of quotation market makers choose, indeed, affect the price quotation of market makers. We also find foreign institutional investors (QFIIs) and market makers bear lower execution cost when they deal on TAIEX option market. Overall, despite the large trading volume and increasing liquidity in TAIEX option, our results suggest that market makers do not play an important role to the market liquidity of TAIEX option market as we thought previously.

What meaning does a name have in a sentence? How do we escape the inevitable difficulties that arise in delineating an individual's meaning through one's speech? The need arises for a distinction between proper names on the basis of the kinds of objects to which they refer. This distinction can provide the theoretical tools needed to solve the problems of empty names, negative existential statements, cognitive significance and substitution failure. Through a study of these issues, the fallacies inherent in current theories of meaning for proper names becomes apparent, as they fail to provide adequate or complete solutions. By elucidating a distinction between two kinds of proper names, labels and tags, we are able to provide solutions to the problems of naming where other theories fail.

Reklamoje galima rasti meninių priemonių, kalbos funkcinių stilių požymių ar perdirbtų kitų tekstų fragmentų, t. y. intertekstų, kurie padeda įgyvendinti reklamos tikslus ir tampa svarbia raiškos priemone. Reklamų intertekstualumas anksčiau nebuvo plačiai tyrinėtas, todėl yra tikslinga aptarti reklamose rastus intertekstus. Baigiamojo magistro darbo tema yra „Reklamų intertekstualumas“. Darbo tikslas yra išsiaiškinti, kokius intertekstinius elementus reklamų kūrėjai renkasi savo reklamoms, kokia vartojamų elementų raiška ir koks turinys perduodamas. Šiam tikslui pasiekti keliami tokie uždaviniai: surinkti tokį spausdintinių reklamų skaičių, kuris leistų tinkamai atlikti tyrimą ir suformuoti objektyvias išvadas, suklasifikuoti intertekstus ir juos apibūdinti, išanalizuoti intertekstualiųjų elementų raišką, nustatyti intertekstualiųjų elementų funkcijas reklamos tekste, apibendrinti tyrimą ir pateikti išnagrinėtų intertekstų vartosenos kryptis. Darbe yra tiriamos 110 spausdintinių reklamų. Pradžioje aptariamas intertekstualumas: kalbama apie intertekstualumo esmę, pateikiama intertekstualumo raiškos pavyzdžių. Praktinėje dalyje yra atliekamas reklamų tyrimas – kalbama apie intertekstualumo raišką spaudos reklamose. Spausdintinėse reklamose vartojamomis citatomis praplečiamas reklamos tekstas, argumentuojami teiginiai apie reklamuojamą prekę ar paslaugą, parodoma produkto vertė: palankiai apie jį mano ne tik adresantas, bet ir žinoma asmenybė. Kiti tekstai ar jų fragmentai... [toliau žr. visą tekstą] / There are found lots of artistic devices in advertisements. Lots of features of functional style of language or redone fragments from other texts (intertexts), help to implement the goals of advertisement and it becomes the important way of expression. The intertextuality in advertisement has not been widely studied earlier so it is appropriate to discuss the intertexts which are found in advertising. The Master thesis is „Intertextuality in advertisement“. The goal of the thesis is to find out what intertextual elements are chosen for advertisers in their advertisements, what is the expression of used items and what content is transferred. To achieve the goal the following tasks were solved: to collect the sufficient quantity of printed advertisements in order to do a research: to form objective conclusions; to classify intertexts and to describe them; to analyse the expression of intertextual elements, set functions of intertextual elements in advertisement texts and to describe them; to make conclusions of the research and submit the directions of using analysed intertexts. There are 110 printed advertisements analysed in the thesis. Firstly the intertextuality is discussed: the point of intertextuality, the examples of intertextuality are given. The research of advertisements is made in the theoretical part – it discusses the expression of intertextuality in printed advertisements. The quotations used in it help to extend the text, argue statements about products or... [to full text]

The problem investigated in this study is the following: “What is the nature and function of the theme of God’s speech in the book of Hebrews and within the whole of the revelation in Scripture?”. This problem can only be solved if the unfolding nature of God’s speech from the Old to the New Testament is taken into account (cf. Heb 1:1-2), the theme is researched grammatical-historically, and then placed revelational-historically within the whole of Scripture. The introductory questions of the book of Hebrews are investigated for the potential light that answers to these questions can shed on the appearance, function and interpretation of references to God’s speech in the book. Subsequently, the structure of Hebrews is investigated and analysed to determine the position which the theme of God’s speech assumes within the sermon. This goal is achieved through a literature study on suggestions for Hebrews’ structure, followed up by an independent thought structure analysis of Hebrews according to the method of Coetzee (1988a:19-37). From the position of the theme of God’s speech within the structure of the sermon the nature and content of the author of Hebrews’ references to the theme of God’s speech as introductory formulae, and as part of Old Testament quotations themselves, are determined. This is done by examining the 38 introductory formulae in Hebrews in detail on the basis of a literature and independent study. Subsequently, eleven pericopes in Hebrews where keywords of the theme of God’s speech come together as part of the argumentation of the sermon are researched grammatical-historically using a combined method of Coetzee (1997), Tolar (2002), Jordaan (2004a) and Fee (2009). Ultimately it is determined how the theme of God’s speech unfolds in the book of Hebrews regarding manner, nature and content by giving an overview of the collected material by means of analysis, interpretation and synthesis. From this overview it is determined how the author of Hebrews’ theme of God’s speech fits into the whole of God’s revelation in Scripture. This is achieved by doing a cursory revelational-historical study using a combined method of Coetzee (1995) and Jordaan (2003) on six topics that form the overview of the theme of God’s speech in Hebrews. Finally, a general conclusion is reached by answering the problem of this study by way of enumeration: The revelational-historical importance of the theme of God’s speech in Hebrews is that the author shares the presupposition of other biblical authors that the Old Testament is divinely inspired and therefore absolutely authoritative, but then with the explicit emphasis that God is presently still speaking directly and urgently with man through it. The unfolding of God’s revelation also has a specific accentuation in Hebrews by means of the author’s emphasis that God revealed Himself superior and finally in his Son. The author of Hebrews’ emphasis on the greater responsibility of the hearers to listen faithfully and obediently because of God’s superior revelation in his Son, is also unique. For these reasons alone Hebrews has an indispensable role within the Canon. / PhD (New Testament), North-West University, Potchefstroom Campus, 2014

Thesis--Indiana University, 2007. / Computer printout. Adviser: Massimo Ossi. Includes bibliographical references (leaves 298-308), abstract, and vita.