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Le poème Vafþrúðnismál présente la rencontre entre deux figures mythologiques, Vafþrúðnir et Óðinn, qui s'affrontent dans une joute verbale. Une lecture attentive du texte conduit à la conclusion que le dieu, dans les questions qu'il adresse au géant. L’analyse de la nature de l’interaction apporte ainsi une nouvelle compréhension du texte et permet d’expliquer plusieurs aspects du poème, jugés jusqu’à présent problématiques. L’étude montre qu’il n’y a aucune injustice dans la distribution des questions ou dans la dernière énigme, comme on l’a traditionnellement interprété, mais que tous deux répondent à une logique bien précise du texte. A travers cette fiction littéraire, le poème transmet sous une forme ludique un savoir traditionnel au moyen d’un genre particulier : la joute d’énigmes. / The poem Vafþrúðnismál presents the meeting of two mythological figures, Vafþrúðnir and Óðinn, who compete in a verbal duel. A close study of the text leads to the conclusion that the god is not seeking any knowledge with his questions to the giant. Therefore, the analysis of the nature of the interaction provides a new understanding of the poem and explains several aspects that have, until now, been perceived as problematic. This study shows that there is no injustice regarding the distribution of questions between the two protagonists, but that this follows a specific logic in the text. In the same way, the analysis of the final riddle reveals that it is not ‘unfair’, as it has traditionally been interpreted, but that it has a precise function in the text. Through this literary fiction, Vafþrúðnismál transmits – in a playful way – traditional knowledge, by means of a specific genre: riddling.

When it comes to truth for Theodor W. Adorno, art and philosophy are closely entangled. Due to their contradictory qualities, neither is self-sufficient when it comes to gaining true knowledge, but require each other’s capabilities. However, even though Adorno insists on the special bond between art and philosophy, his aim is not that they should be synthesized into one and the same method. This is because it is not their different strengths that hold their true potential, but their weaknesses. “The True is the whole,” writes Hegel, but this idea is what gets shattered by Adorno when he insists on the respective inabilities of art and philosophy to obtain absolute truth, as a consequence of the suppression of the non-identical held up by identity thinking. By following Adorno’s reading of Hegel, I will in this paper instead suggest that we consider truth as broken. My aim is to show how such an understanding can align with Adorno’s argument that truth is in the object, outside of subjectivity, while also acknowledging the socio-historical mediation of it. Broken parts, seen through the respective deficiencies in art and philosophy, could then be understood as being true, as we dismiss wholeness as a false demand.

Riddles can refer to all spheres of human being. The thesis is based on contemporary theories and methods of cognitive linguistics and etnolinguistics: riddles can be seen as a specific semiotic system, which contains references to the certain way of understanding the world. The aim of this thesis is to define the linguistic picture of human being and human body in Czech folk riddles. The article of etnolinguist H. Kazancewa provides the methodical basis. Riddles can be classified: riddles about human ontogenesis are in the first group, rhyming riddles describing human body and its parts using neologisms are in the second group, riddles about organs and parts of the body are in the third group. Part of human body can be encoded on the basis of its appearance, or on the basis of its function, or both. Sets of organs in the second and in the third group differ. Head, hair, eyes, nose, mouth, hands (and arms) and legs appear in both groups - they have the central position in the linguistic picture of the human body in Czech. The second group of riddles encodes forhead, stomach, knees, feet and heels in addition. The third group of riddles encodes teeth, tongue, beard, fingers and ears in addition. Some parts of human body - back, buttocks, genitals - appear exceptionally or are missing. Riddles about...

The purpose of this study is to investigate RF or Radio Frequency energy as a viable alternative to traditional heating methods for the purpose of curing resins used in resin infusion molding, a molding system for polymeric composites. Traditional heating/curing methods include technologies such as room temperature, oven, microwave, infrared, and ultraviolet. Although RF curing provides far more advantages than disadvantages, its implementation into a manufacturing process can be challenging. Specifically, three critical elements must be present in order for RF to function in a manner that is profitable to the manufacturer. Those elements are: (1) the proper generator (voltage and frequency), (2) the correct electrode configuration, and (3) the appropriate material sensitizer (amount and type). There is also the consideration of initial capital investment; which is by no means insignificant. However, if all 3 elements are present, the benefits can be immediate and numerous. Potential advantages include the following: improved part quality through penetrating and uniform heating; competitive, if not superior, material physical properties; and drastically reduced curing times. Other potential advantages include floor space savings, high energy efficiency, and increased operational flexibility. For the purpose of this thesis, experimentation will be conducted to first confirm and then, if successful, quantitatively capture the reduction in curing time. Physical properties will also be measured using tensile testing to determine whether or not RF curing can facilitate minimal loses in the material's physical properties.

禮多-禮品購物網站創業計畫 / Riddle.com.tw - Gift Shopping Website Business Plan

« Lisez l’histoire et le tableau » : telle est l’invitation formulée par Poussin à l’adresse d’un de ses commanditaires, etqui d’une certaine manière consacre d’emblée le bien-fondé d’une approche iconologique de ses oeuvres. Et l’artisted’affirmer ailleurs que « la nouveauté dans la peinture ne consiste pas surtout dans un sujet non encore vu, mais dans labonne et nouvelle disposition et expression, et [qu’] ainsi de commun et vieux, le sujet devient singulier et neuf ».S’agissant cependant de la part cruciale de l’inspiration de ce peintre savant que représente la transposition des auteursclassiques, nous avons constaté que ses modalités n’avaient guère retenu l’attention de la critique. Nous avons donctenté de saisir, pour reprendre les mots de Poussin, ce qui fait la nouveauté et la singularité de la manière dont il traite sesapports littéraires. Il est ainsi apparu que le parti qu’il en tire, bien moins illustratif que d’ordre herméneutique, exige uneparticipation active du spectateur, en l’occurrence invité à déceler dans ses tableaux les rapports secrets qui s’y trouvent suggérés entre plusieurs passages d’une même oeuvre, voire entre le texte ancien apparemment figuré et tel autre, le cas échéant d’un auteur cette fois moderne. Une telle conception de sa pratique culmine dans le recours à un dispositif tout aussi ignoré de la critique, alors qu’il apparaît on ne peut plus caractéristique de l’art de Poussin : l’équivoque visuelle. Nous y percevons en dernier recours l’héritage du tableau à énigme cher aux collèges jésuites, et par là l’une des nombreuses marques que contient son oeuvre de la culture propre aux membres de la Compagnie. / « Read the story and the painting »: this invitation, sent by Poussin to one of his patrons, grounds the iconological approach of his works. The artist asserted elsewhere that « newness in painting does not consist mostly in a yet unrepresented subject, but in a proper and new dispositio and elocutio, thus turning the common and the old into the singular and new ». Still, little sustained critical attention has been paid to the actual ways in which Poussin made use and transposed the Ancient authors from which this erudite painter drew a large of share of his inspiration. We have therefore tried to recover what, according to Poussin himself, constitutes the newness, the singularity of his way of transposing the literary material. It appears that, rather than producing an illustration, Poussin’s word relied on a hermeneutic mode of engagement, calling upon the viewer to decipher in the paintings the secret relationships drawn between a plurality of a literary work’s loci, or between the Ancient source text ostensibly figured in the painting and another, eventually modern one. Such a conception of his practice is epitomized in Poussin’s characteristic use of a critically neglected device : the visual equivoque. We mayrecognize in its use the trace of a genre, that of the enigma painting, dear to the culture of Jesuit colleges, and anothermark of their influence on Poussin’s oeuvre.

This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product.

L’objet de cette thèse est de rendre compte des spécificités d’un genre poétique ingénieux, l’énigme, devenu caduc et qui a longtemps été dédaigné par la critique littéraire en raison de sa dimension ludique. Elle n’en a pas moins connu une ample carrière tout au long de la première modernité, comme en attestent de nombreux manuscrits et séries éditoriales. Nous abordons cette forme procédant du genre de discours de la devinette, dont l’étude a longtemps été réservée à l’anthropologie, du point de vue de l’histoire littéraire et de l’histoire des formes. Cette thèse expose les nombreuses filiations littéraires de l’énigme en langue française ainsi que ses enjeux pragmatiques dans le contexte des salons, où elle est adaptée aux règles du jeu de la conversation et de la civilité mondaine. L’analyse poétique et rhétorique démontre que, loin d’être une forme hermétique, l’énigme subordonne l’effet obscur de la parole poétique à l’éclat ingénieux. Genre à contrainte et genre sériel, elle constitue un laboratoire de la création poétique de l’Ancien régime, donnant lieu à de nombreuses inventions facétieuses et galantes. L’étude des collections d’énigmes publiées entre les années 1570 et 1720 rend compte, au-delà de la répétition des thèmes et des formes, de possibilités d’énonciation originale des « mystères ingénieux ». Elle révèle aussi le rôle central de l’allusion dans l’invention du discours littéraire de la première modernité. / The purpose of this work is to present the characteristics of an ingenious poetic genre, the enigma, which is nowadays considered obsolete and has long been underestimated by critics on account of its recreational dimension. However, the early modern times have made an extensive use of it, as many manuscripts and print series show. We tackle this form, linked to the riddle genre, which study has long been the field of anthropology, from the perspective of the history of literature and of the history of literary form. We highlight the numerous literary sources of the French enigma, as well as the practical questions at stake in the framework of high society salons that adapted it according to the rules of conversation and politeness. The poetical and rhetorical analysis shows that, far from being an arcane form, the enigma uses obscurity in order to create an ingenious brightness. Despite being strictly rule-bound and serial, the genre makes space for a huge diversity of poetical creation and provides facetious and gallant inventions. Studying the collections of enigmas published between 1570 and 1720 shows that, beyond the repetitive themes and forms, it is still possible to think up genuine “ingenious mysteries”. It also reveals the fundamental part played by allusion in the invention of a literary discourse in the early modern times.

Syftet med uppsatsen är att analysera hur filmmusiken har använts i Batman: The Movie (1966), Batman (1989) och The Dark Knight (2008). Att se en narrativ användning och beskrivning av Batman samt hur upplevelsen av filmen ändras när man ser den utan musik. Kompositörerna till filmerna är, för Batman: The Movie (1966) Nelson Riddle, till Batman (1989) är det Danny Elfman och till The Dark Knight (2008) är kompositörerna Hans Zimmer och James Newton Howard. Filmerna analyserats från ett multimodalt perspektiv och delar in filmmusiken i filmmusikens berättarfunktioner framtagna av Johnny Wingstedt Scenerna har setts på flera gånger både med och utan musik för att få fram musikens roll och betydelse. En scen per film analyseras. Scenerna är valda på så sätt att de beskriver Batman som karaktär på ett bra sätt. Scenerna beskrivs tydligt och en analys görs innan det avslutas med en konklusion. Scenerna jämförs sedan med varandra för att se likheter och skillnader.