When selling a service to companies or individuals, it’s important to deliver what you sell. Currently, Softronic provides companies with a platform that provides different types of services. These services create opportunities to efficiently develop government functions in accordance with the Government’s action plan for e-governance. These services are hosted by using the cloud computing platform Microsoft Windows Azure. The services’ functionality is important for both Softronic and their customers’ businesses. To know early whether there is a problem or if there will be problems with the services, Softronic wanted to monitor one of these services with the help of an external monitoring service.   The aim of this thesis was to compare three different systems for monitoring cloud-based services, implement the most suitable one and develop an application for Windows 8 where customers can see the status of their message channel inside the service. The monitoring systems tested were chosen and judged according to Softronics needs and monitoring requirements. A monitoring service called New Relic was chosen for implementation. New Relic has support for most of the required features, and for the rest of the features, an application was developed. A Windows 8 application and a website were developed that show information about customers’ message channels, and a web service was developed to supply both of them with the data they need. / När man säljer en tjänst till ett företag eller privatpersoner är det viktigt att man levererar det man lovar. I dagsläget tillhandahåller Softronic en plattform med olika tjänster. Dessa tjänster hjälper till att skapa möjligheter för att lättare kunna utveckla myndigheters verksamhet enligt regeringens handlingsplan för e-förvaltning. Dessa tjänser är driftsatta i Microsofts molnplattform, Windows Azure.   Att dessa tjänser fungerar är kritiskt för både Softronic och deras kunder. För att kunna, i ett tidigt stadie, få reda på om det är problem med tjänsterna eller om det kommer bli problem med tjänsterna, ville Softronic övervaka en av dessa tjänster med en redan befintlig monitoreringstjänst.   Målet med detta examensarbete var att jämföra tre olika system för övervakning av moln-baserade tjänster för att slutligen implementera den bäst passande av de tre samt utveckla en applikation för Windows 8 där kunden kan se status på sin egen meddelandekanal. I arbetet har de valda applikationerna testats och bedömts efter Softronics behov och krav på övervakning. En monitoreringstjänst som heter New Relic valdes för implementation. New Relic har stöd för de flesta av de nödvändiga funktionerna, och för de resterande funktionerna utvecklades en applikation. En Windows 8-applikation och en websida utvecklades för att visualisera kunders meddelandekanaler, och en webbtjänst utvecklades för att förse båda dessa med den information de behöver.

Ma thèse porte sur l’étude de l’évolution du culte des reliques de saint Martin de Tours, du haut Moyen Âge jusqu’à aujourd’hui ; travaillant aussi bien sur les reliques corporelles que les reliques de contact de saint Martin. Pour cela, je dois faire l’inventaire de ses reliques qui existent à travers le monde et expliquer leurs séparations, translations et déplacements. Il s’agit aussi pour moi de les replacer dans leur contexte historique, puis d’analyser à travers elles la diffusion et l’étendue du culte de saint Martin dans le monde en confrontant les différentes sources qui évoquent ces reliques et en menant une réflexion plus générale sur la propagation d’une vénération religieuse. Les reliques Martiniennes demeurent le thème essentiel de mon travail, mais la recherche sera étendue à d’autres figures hagiographiques, dans un souci de comparaison notamment. / My PhD deals with the study of the evolution of the relics cult of Saint Martin of Tours, from the Early Middle Ages to today; I work on corporal relics as well as contact relics of Saint Martin. For that, I must make an inventory of his relics that exist around the world and explain their separations, translations and movements. It is also a question for me of replacing them in their historic context, then of analyzing through them the diffusion and the extent of the worship of Saint Martin in the world by confronting the different sources which talk about these relics and by leading a more general reflection about the spread of religious veneration. The Martinian relics remain the main theme of my work, but the research will be extended to other hagiographic figures, for the sake of comparison in particular.

My work is a response to the miraculous energy exhibited in nature, an invisible power that creates exquisite structures and designs in every living thing around us only to destroy them and begin again. Specifically, it is inspired by a lifelong fascination with the detritus left behind. Shimmering maple tree seeds, decaying oak leaves, or delicate marine relics awash on the beach are tangible (and daily) reminders that life is precious and fleeting, but also hopeful as that energy is always transformed into something new. The drawings, pulp prints and sculptures produced for my thesis are futher animated by the belief that nature is telling us something with its expressive vocabulary of lines, shapes, textures and colors. In every weather-worn remnant, there is a narrative—a life history and lessons to be learned. Captivated by the recurring forms and patterns found on land and in the sea, I find myself trying to decipher this language through close observation and interaction with the objects I collect, study and draw from, as well as the natural materials used to produce the work. Through the rituals of drawing and erasing, steaming, cooking and preparing fiber, concealing and revealing imagery, form and text, I find myself connecting with these narratives and participating in an age-old dialogue with nature.

233f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-09T16:24:49Z No. of bitstreams: 3 luisclaudiocampospt3.pdf: 36751 bytes, checksum: 27aaa05485cc7fa2baab48e3c6e9cdec (MD5) luisclaudiocampospt2.pdf: 3344070 bytes, checksum: afef5aa5743eb9dda302f662f97af4df (MD5) luisclaudiocampospt1.pdf: 1763833 bytes, checksum: 964d965a231058dac57f07466ea525d6 (MD5) / Approved for entry into archive by Lêda Costa(lmrcosta@ufba.br) on 2013-04-18T12:35:54Z (GMT) No. of bitstreams: 3 luisclaudiocampospt3.pdf: 36751 bytes, checksum: 27aaa05485cc7fa2baab48e3c6e9cdec (MD5) luisclaudiocampospt2.pdf: 3344070 bytes, checksum: afef5aa5743eb9dda302f662f97af4df (MD5) luisclaudiocampospt1.pdf: 1763833 bytes, checksum: 964d965a231058dac57f07466ea525d6 (MD5) / Made available in DSpace on 2013-04-18T12:35:54Z (GMT). No. of bitstreams: 3 luisclaudiocampospt3.pdf: 36751 bytes, checksum: 27aaa05485cc7fa2baab48e3c6e9cdec (MD5) luisclaudiocampospt2.pdf: 3344070 bytes, checksum: afef5aa5743eb9dda302f662f97af4df (MD5) luisclaudiocampospt1.pdf: 1763833 bytes, checksum: 964d965a231058dac57f07466ea525d6 (MD5) Previous issue date: 2009 / A pesquisa sistematiza o processo de confecção de objetos com abordagem diferenciada sobre relíquia, memória e história, na intenção de transpor limites ao uso de materiais e técnicas de arte, conceituando em reflexões prático-teóricas lembranças e recordações, portanto uma poética que traz a “ausência” do imaginário, tecido de memória, distância, passado e saudade. A importância de se trabalhar com relíquias em linguagens artísticas reside na visibilidade da aproximação das distâncias entre o passado e o presente, trazendo ao contemporâneo o significado do passado como alicerce de nossas ações. Tomando como base o processo de criação na construção da obra de arte discutido por Cecília Salles, assumo o conceito de criação em rede como, forma de compreender as implicações em adotar essa perspectiva ao pensar na prática artística. Esses modos de “pensar” e “fazer” serviram de guia e, até mesmo, contribuíram para que a escolha dos materiais na elaboração das obras acontecesse a partir do momento que o suporte pudesse dialogar com o conceito. Imaginei cada obra e as registrei em estudos, desenhos, rascunhos que serviram para elaborar as peças. As modificações sofridas durante a gênese de uma delas é a evidência de que esse processo é ativo e repleto de diversas possibilidades. Fatos lembrados e vividos foram agregados às obras, de forma consciente ou não, transformando as peças marcadas pela ausência de temporalidade no pensamento e ato criador em registros do passado. Tomo Santo Agostinho e Henri-Louise Bergson como Filósofos norteadores para compreender as questões relacionadas ao tempo e a memória. Em momentos específicos recorro a Merleau-Ponty (aspectos fenomenológicos) e Gaston Bachelard (aspectos relacionados ao mobiliário). Faço aproximações e distanciamentos com obras de artistaspesquisadores, como Joseph Cornell, Farnese de Andrade, Sebastião Pedrosa, Graziano Spinosi, Anish Kapoor, Eriel Araújo, Graça Ramos e VigaGordilho. As reflexões e a prática no atelier apontaram caminhos e possíveis soluções que abraçam o dialogo com o espectador para conquista de novos conhecimentos. A síntese das pesquisas foi mostrada na exposição Rememoráveis, com a apresentação de três objetos e seis instalações. / Salvador

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Slay the Spire is a roguelike deckbuilding game and this genre is fairly new with the first game in this genre called Dream Quest came out in 2014. Since the genre is so new there are not many tools that can help in the creation of games in the genre. Slay the Spire offers an extensive modding API which lets users create new content for the game. This would require the designer to have both programming knowledge and API knowledge which takes a lot of time to learn. This is why Design science as a methodology was chosen to create a UI to make it easier for designers without the required knowledge to still be able to create content for the game. A user study was then conducted to evaluate the usability of the UI. Experiments were also used to test the artifact to make sure content is created correctly.

In the four early modern revenge tragedies I study, Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Titus Andronicus, Thomas Middleton’s The Revenger’s Tragedy, and John Webster’s The Duchess of Malfi, the ubiquitous depictions of corporeal violence underscore the authors’ skepticism of the human tendency to infuse bodies – physical manifestations of both agency and vulnerability – with symbolism. The revengers in these plays try to avenge the death of a loved one whose disfigured body remains unburied and often continues to occupy a place on stage, but their efforts to infuse corpses with meaning instead reveal the revengers’ perverse obsession with mutilation as spectacle. In Chapter one, I show how in The Spanish Tragedy Thomas Kyd portrays the characters’ assertions of body-soul unity to be arbitrary attempts to justify self-serving motives. Although Hieronimo treats Horatio’s dead body as a signifier of his own emotions, he displays it, alongside the bodies of his enemies, as just another rotting corpse. In Chapter two, I explore how in Titus Andronicus, William Shakespeare questions the efficacy of rituals for maintaining social order by depicting how the play’s characters manipulate rituals intended to celebrate peace as opportunities to exact vengeance; Titus demands human sacrifice as not just an accompanying element, but a central motive of rituals ostensibly intended to signify commemoration. In Chapter three, I read The Revenger’s Tragedy as illustrating Thomas Middleton’s characterization of the depiction of corporeal mutilation as an overused, generic convention; the play’s revenger, Vindice, attributes multiple, constantly shifting, meanings to the rotting skull of his lover, which he uses as a murder weapon. In Chapter four I argue that in The Duchess of Malfi, John Webster destabilizes spectators’ interpretive capacities; within this play’s unconventional dramatic structure, the main characters use somatic imagery to associate bodily dismemberment with moral disintegration. Corpses, the tangible remains of once vigorous, able-bodied relatives, serve as central components of respectful commemoration or as mementos of vengeance, yet these dead, often gruesomely mutilated bodies also invite repulsion or perverse curiosity. Thus, rather than honoring the deceased, revengers objectify corpses as frightening spectacles or even use them as weapons.

Thesis (M.A.)--Miami University, Dept. of Comparative Religion, 2004. / Title from first page of PDF document. Includes bibliographical references (p.57-61).

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / Au 19e siècle, la pratique du masque mortuaire connut, en France, une popularité rarement vue dans l’histoire. Le masque de Géricault nous apparaît comme un objet emblématique de la culture matérielle française de cette période. Ce mémoire cherche d’abord, en l’inscrivant dans la mouvance du romantisme, à expliciter la signification historique de cet objet. La reproduction du masque, sa manipulation et son exposition dans les ateliers des artistes romantiques, ont contribué à construire la mythologie et la figure posthume de Géricault comme martyr de l’art. C’est ainsi que le masque participe pleinement du romantisme, que nous comprenons, avec Paul Bénichou et Éric Michaud, comme «relevant» le christianisme et ses stratégies de construction de mythe. Il nous apparaît alors nécessaire de considérer notre objet comme une relique séculaire qui supporte le nouveau culte de l’artiste. À partir de là, nous explorons, en nous appuyant sur l’anthropologie des images d’Hans Belting, la manière dont la réalisation du masque de Géricault renoue avec certaines pratiques dévotionnelles chrétiennes et même avec certaines pratiques funéraires des premières sociétés humaines. Le masque acquiert alors, parallèlement à l’oeuvre, la signification anthropologique d’être un substitut pérenne du cadavre destiné, par le culte, à «re-socialiser» le défunt, à lui faire don d’une vie posthume. Nous analysons ensuite les principaux usages du masque de Géricault dans les années 1830-1840 en portant une attention particulière à ses lieux d’accueil : le musée, la collection et l’atelier. Nous approfondissons ensuite les témoignages de l’historien Jules Michelet et du peintre Eugène Delacroix. Finalement, nous explicitons les liens qui existent entre la figure posthume de Géricault et l’oeuvre même du peintre, en tant qu’elle est habitée par une stratégie de fragmentation. / In 19th century’s France, the practice of death mask has reached a level of popularity rarely seen in history. The mask of Géricault is an emblematic object of french’s material culture of this time. By inscribing this object in romanticism, this thesis intends to elucidate its historical signification. The reproduction of the mask, its manipulation and its exhibition in the romantic artist’s studios contributed to construct the mythology and the posthumous figure of Géricault as a martyr of art. Thus, the mask fully pertains to romanticism. On the base of the research of Paul Bénichou and Éric Michaud, we understand this movement as “sublating” Christianity and its strategies of myth construction. We therefore acknowledge the necessity to consider our object as a secular relic, which supports the new cult of the artist. From that point, with respect to Hans Belting’s anthropology of images, we explore the way the production of this mask renews some Christian devotional practices, as well as some funerary practices of the first human societies. Concurrently to the painter’s work of art, the mask acquires the anthropological signification of being the corpse’s perennial substitute. Through the cult, the mask “resocializes” the dead and gives it a posthumous life. We next analyze the principal uses of the mask of Géricault in the 1830-40’s by focusing on the locations of its reception : the museum, the collection and the studio. Then, we examine the account of the historian Jules Michelet and the painter Eugène Delacroix. Finally, we articulate together the posthumous figure of Géricault and his work in its strategy of fragmentation.

My art is a means for investigating the passage of time, the decay of physical things, and the truth of mortality. I explore these concepts through process-oriented sculptures that emphasize ritual and material. The process is communicated with the creation of relics, often existing as drawings or the remains of degenerated sculptures. These relics bear witness to the process. I focus on themes of temporal change and death because they remain central to our metaphysical and physical existence. I see a diminished reverence for the power of death in our culture, and through my work I aim to pay homage to death while offering viewers an experience of “being present,” a deeper awareness of our existence in time. The mindfulness I speak of is an awareness of life’s temporal nature. My intention is to evoke an awareness of mortality giving rise to feelings of gratitude and humility.