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Cette thèse est une approche du feuilleton télévisuel sentimental sud-coréen de prime time, connu sous le nom de k.drama (korean drama) à l’étranger, en tant que genre fictionnel télévisuel. Dans une première partie présentant l’évolution du système télévisuel sud-coréen, nous montrons comment ce dernier s’est construit autour de la concurrence des chaînes généralistes KBS et MBC avec une nette accélération du phénomène à la suite de la fondation de la chaîne commerciale SBS, puis avec le début d’un phénomène d’engouement pour les contenus audiovisuels coréens en Asie (Vague coréenne). Après une présentation générale du feuilleton télévisuel en Corée (drama) à travers sa typologie et son histoire, nous procédons à une étude de la programmation de prime time entre 1992 et 2005, presque entièrement consacrée à la diffusion de dramas et constatons la place importante de fictions sentimentales courtes appelées « miniseries » par les diffuseurs et« trendy drama » par les spécialistes. Ensuite, nous interrogeons ces deux termes génériques, les rapprochons et concluons sur leur incongruité. Après cette première approche définitoire, nous analysons un corpus de quinze dramas diffusés pendant la période d’étude et sélectionnés parmi les plus représentatifs et les plus populaires.Cette analyse qui a pour but de mettre sur pied une formule générique, nous conduit dans un premier temps à rapprocher l’histoire de celle du roman sériel sentimental avec une spécification quant à la localisation et au nombre de fils narratifs secondaires. Ensuite une analyse du récit permet de montrer son caractère extrêmement fluide et ancré dans le temps présent. La troisième partie portant sur la mise en images et en sons du récit permet de souligner le soin apporté au choix des images et des musiques et de confirmer l’accentuation sentimentale.Une dernière partie consacrée à la médiatisation du récit audiovisuel porte sur le phénomène d’hybridation, le caractère genré du contenu et l’aspect commercial appuyé du drama dont la spécificité réside dans le placement de produits. / This study investigates the genre of Prime Time South Korean Romantic TV serials (TV dramas),known as k.drama abroad. The first section introduces the history and evolution of the Korean television system.It shows how the system emerged from the influence of general-interest TV channels, such as KBS and MBC,but especially took shape after the foundation of the private TV Channel SBS, which helped to trigger the crazefor Korean audiovisual content in Asia (Korean Wave). The second section describes the history and typology of Korean TV Drama, which sets up my analysis of the Prime-Time TV Schedule from 1992 to 2005. The analysis shows the predominance of TV Dramas and short romantic serials, called “miniseries” by distributors but “trendy dramas” by specialists. I then question those two generic labels, compare them and show their incongruity. After problematizing these labels, I conduct an analysis of fifteen Prime Time TV dramas airedduring the study period and selected because of their audience or representative aspects. By trying to discover ageneric formula, I show the similarities with serial literary romance but differences regarding location and number of secondary narratives. I then demonstrate that the narrative process contains some particular qualities,with a focus on the fluidity of the narrative and the representation of time (coincidence of narrative time withviewing time). The third section of the analysis of the generic process shows the attention to displaying musicand images with an emphasis on sentimental tone. The final section deals with the “mediatization” of theaudiovisual narrative. The process entails the hybridization of content, the consideration of gender in messagingand the strong emphasis on marketing which concentrates on product placement.

Etiqueté péjorativement « roman à l’eau de rose », le roman sentimental, critiqué et plutôt méconnu, est pourtant un genre paralittéraire à succès. Bien qu’inspirant mépris et indifférence, cette production et son lectorat francophone méritent dès lors qu’on s’y attarde. Produit emblématique de la culture médiatique, le roman sentimental représente en effet un indicateur de mutations culturelles d’importance. Articulée en deux temps, notre analyse se centre, d’une part, sur les spécificités de cette production et, d’autre part, sur son lectorat francophone. L’examen du roman sentimental sous l’angle textuel, éditorial et auctorial est donc couplé à une enquête qualitative basée sur un ensemble d’entretiens semi-directifs visant à circonscrire les pratiques du lectorat, à éclaircir les motifs à la base de la lecture sentimentale et à déterminer sa fonction principale. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

Cette étude propose de réviser le postulat selon lequel le roman américain ne naît que dans les années 1820, pour suggérer que cette forme émerge plus tôt, entre 1789 et 1819. La période qui suit la fin de la guerre d’Indépendance n’est pas favorable à la naissance du roman : les élites craignent alors la déchéance de la jeune République, et la fiction risque de faire basculer le pays dans l’anarchie. Les œuvres des premiers auteurs américains sont fortement façonnées par l’impératif de didactisme et d’utilité sociale et morale qui pèse alors sur la création littéraire. Toutefois, le roman qui émerge dans les années 1790 demeure une forme sombre, plurielle et paradoxale qui résiste à toute tentative de recadrage et de maîtrise, comme en témoigne particulièrement l’œuvre de Charles Brockden Brown. Alors qu’une première tradition littéraire a commencé à se mettre en place au tournant du siècle, le roman subit une transformation esthétique majeure au cours des années 1800 et 1810. Il dépeint à présent avec nostalgie, dans une forme lisse, mesurée et linéaire, une Amérique qui n’existe plus ou qui n’a jamais existé, dans laquelle tout est perpétuellement ordonné et transparent. Ces ouvrages ne marquent pourtant pas l’avènement du roman américain, car leur équilibre est artificiel et les éléments sombres sont toujours lisibles au cours de ces deux décennies. Nous concluons qu’un roman spécifiquement américain se développe effectivement entre 1789 et 1819, qui, au moyen de deux esthétiques opposées mais complémentaires, s’interroge sur l’individualité, le temps et l’écriture, dans une quête perpétuelle d’équilibre et de maîtrise qui ne se réalise jamais vraiment. / Although critics still widely consider the American novel only emerges in the 1820s, this dissertation invalidates this assertion and suggests that it rises between 1789 and 1819 and has specific aesthetic characteristics. The period that follows the close of the Revolution is not favorable to the development of the novel: the elites fear the fall of the early Republic, and the novel might precipitate the nation into anarchy. The first American authors’ works are fashioned by the social and moral imperatives that influence writing at that time. Despite these measures, the novels published in the 1790s are dark, fragmented and paradoxical and resist any attempt at order and control, as Charles Brockden Brown’s works show. While the 1790s seem to witness the development of a specifically American tradition, the novel undergoes a major aesthetic change at the beginning of the 19th century. Long fictions now depict, with nostalgia and in a smooth, balanced, strongly linear form, an ordered and transparent American nation that is no more or that never existed. Yet these works do not indicate that the American novel has reached its mature form, as their balance is purely artificial and unruly elements are still at work during those decades. We conclude that a specifically American novel emerges during the thirty years following the Revolution: under two different but complementary aesthetics, this genre questions matters linked to individuality, time and writing, and is haunted by a quest for control and balance that never really comes to completion.

Text in Afrikaans / Summary in English / Until recently damages were only awarded in South African law for the loss of an object which was utilised for the generation of income. In Kellerman v South African Transport Services' damages were awarded for the first time for the loss of use of an object, which was used for non-business purposes. In this dissertation the writer aims to indicate that the personal loss that a plaintiff suffers by the loss of the object is so closely related to the physical possession through which it is served, that the Jaw should protect such personal interest. In such circumstances damages should be awarded in principle, irrespective of whether the plaintiff used the object for business purposes or whether he indeed hired a substitute or not. There is room in the South African law for development in the area of delictual damages for the Joss of the possibility to use a material object. / Private Law / LL.M.

電子工業為台灣最具競爭力之產業,使得電子類股在集中市場成交比重高達 69.49%,可見電子類股的波動足以對整個台股市場造成相當大的影響。而許多研究指出,網路上的文本訊息藉由社會網路的催化而快速傳遞,會對群眾情緒造成影響,進而影響股價波動,故對於投資者而言,如果能快速分析大量網路財經文本來推測投資大眾情緒進而預測股價走勢,即可提升獲利。然而,每天有近百篇的財經文本產生,傳統的人工抽樣分析方式效率不彰且過於耗力, 已不足以負荷此巨量資料。 過去文本情感分析的研究中已證實監督式學習方法可以透過簡單量化的方式達到良好的分類效果,但監督式學習方法所使用的訓練資料集須有事先定義好的已知類別,故其有無法預期未知類別的限制,造成無法判斷文本中可能存在的未知主題,所以本研究提出一套針對財經文本的混合監督式學習與非監督式學習之情感分析方法,透過非監督式學習將 2014 整年度的電子工業財經文本進行文本主題判別、情緒指數計算與情緒傾向標注。之後配合視覺化工具作趨勢線圖分析,找出具有領先指標特性之主題,接著再用監督式學習將其結合國際指標、總體經濟指標、台股指標、技術指標等,建立分類模型以預測台灣電子類股價指數走勢。 在實驗結果中,主題標注方面,本研究發現因文本數量遠大於議題詞數量造成 TFIDF 矩陣過於稀疏,使得 TFIDF-Kmeans 主題模型分類效果不佳;而文本具有多主題之特性造成 NPMI-Concor 分群之議題詞過於複雜不易歸納,然而LDA 主題模型基於所有主題被所有文章共享的特性,使得在字詞分群與主題分類準確度都優於 TFIDF-Kmeans 和 NPMI-Concor 主題模型,分類準確度高達 98%,故後續採用 LDA 主題模型進行主題標注。情緒傾向標注方面,證實本研 究擴充後的情感詞集比起 NTUSD 有更好的字詞極性判斷效果,計算出的情緒 指數之趨勢線也較投資人常用的 MACD 之趨勢線更符合電子類股價指數之趨 勢。此外,亦發現並非所有文本的情緒指數皆具有領先特性,僅企業營運主題與總體經濟主題之文本的情緒指數能提前反應電子類股價指數趨勢,故本研究用此二主題之文本的情緒指數來建立分類模型。 接著,本研究透過比較情緒指數結合技術指標之分類模型與單純技術指標分類模型的準確率發現,前者較後者高出 7%的準確率。進一步結合間接情緒指標的分類模型更有高達 71%準確率,故證實了情感分析確實能有效提升電子股價類股指數趨勢預測準確度,以提升投資人之投資報酬率。 / The electronic industry is the most competitive industry in Taiwan, and its large volume could have strong influence on the whole stock market. Many research show that text documents on the Internet have great effect on public emotion, and the public emotion could also affect the stock price. For investors, it is important to know how to analyze the potential emotion in text documents then use this information to predict the stock trend. However, the traditional way to analyze text documents by human resource cannot afford the large volume of financial text documents on the Internet. In past Sentimental Analysis research, supervised method is proven as a method could reach high accuracy, but there are limits about predicting the future trend. This research found a solution which mixed supervised and unsupervised methods to deal with these large financial text documents. First, we use unsupervised method to find out the topic of documents, and then calculate the sentimental index to judge the document’s emotional direction. After that we will produce trend line charts by visualization tools to find out which theme documents’ sentiment index are leading indicators. Furthermore, we use supervised method to integrate the sentimental index with other 24 indirect sentimental index to build the prediction model. According to the result, we found that LDA model’s performance is better than TFIDF-Kmeans model and NPMI-Concor mode because of document characteristic. Besides, sentimental dictionary I build has higher accuracy than NTUSD on judging word polarity. The trend of sentimental index and Taiwan electronic sub-index(TE) to each other is more similar than MACD line and TE to each other. We also discover that the sentiment index produced from documents about enterprise operation and macroeconomics are leading indicators, so we use these to build prediction model. Moreover, we found that the prediction model which include the sentiment index better than which only include the technical indicators. As mentioned above, the sentimental index could make the prediction of Taiwan electronic sub-index trend be more accurate and promote the return of investment.

Text in Afrikaans / Summary in English / Until recently damages were only awarded in South African law for the loss of an object which was utilised for the generation of income. In Kellerman v South African Transport Services' damages were awarded for the first time for the loss of use of an object, which was used for non-business purposes. In this dissertation the writer aims to indicate that the personal loss that a plaintiff suffers by the loss of the object is so closely related to the physical possession through which it is served, that the Jaw should protect such personal interest. In such circumstances damages should be awarded in principle, irrespective of whether the plaintiff used the object for business purposes or whether he indeed hired a substitute or not. There is room in the South African law for development in the area of delictual damages for the Joss of the possibility to use a material object. / Private Law / LL.M.

Made available in DSpace on 2015-03-26T13:44:35Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1403479 bytes, checksum: e1ee441aa1f4cdcc6d638bbd191517b3 (MD5) Previous issue date: 2014-03-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The intention of this paper was to analyze how the ethos, pathos and logos were used in the religious discourse of Minister Sarah Sheeva, whose intention was to seek new members to her community and to keep those who are already part of it. With this objective in mind, our corpus is composed by 6 Sentimental Counseling published by the Minister on Youtube. After the corpus transcription this paper describes the discursive organization and interprets the data based on the theoretical framework related to the study of argumentation based on the tripod logos, ethos and pathos, and in studies of genres. In this analysis, Amossy (2011), Charaudeau (2007, 2010, 2011), Perelman (1996), Maingueneau (2011) were used, among other authors. Through logos analysis we noticed that Sarah Sheeva uses many logical arguments in her discourse construction. Regarding the dimension of ethos in Counseling, it was found that the main ethos related to the image of Sarah Sheeva were of virtue, solidarity and credibility and that ethos related to the image of the Minister are built not only on her speech , but also on her way of dressing and behaving. Concerning the analysis of pathos, Sarah Sheeva‟s argumentation is built not only from logic, but also on the emotional, as she tries to articulate emotion and reason with the primary purpose of counseling, which would be maintaining people that already follow her and capture the faithful ones who have not yet shared her precepts. Finally, by analyzing the imaginary socio-discursive on women, we find that in Sarah Sheeva‟s speech there is a traditional point of view that condemns female liberty, which women have conquered over the years. / Pretendeu-se, através deste trabalho, analisar como o ethos, o pathos e o logos foram utilizados no discurso religioso da pastora Sarah Sheeva, tendo em vista sua intenção de buscar a adesão de novos fiéis e de manter os que já fazem parte da comunidade religiosa. Com esse objetivo, nosso corpus se constitui de 6 Aconselhamentos Sentimentais publicados pela pastora no Youtube. Na sequência, optamos por, após a transcrição, descrever a organização discursiva e interpretar os dados com base no arcabouço teórico referente aos estudos da argumentação, baseados no tripé logos, ethos e pathos; e também nos estudos sobre gêneros. Utilizamos, na análise, Amossy (2011), Charaudeau (2007, 2010, 2011), Perelman (1996), Maingueneau (2011), entre outros autores. Através da análise do logos, percebemos que Sarah Sheeva utiliza diversos argumentos lógicos na construção do seu discurso. No que se refere à dimensão do ethos nos Aconselhamentos, constatamos que os principais ethos relacionados à imagem de Sarah Sheeva foram o de virtude, solidariedade e credibilidade e que os ethos relacionados à imagem da pastora são construídos não só pelo seu discurso, mas também pela sua forma de se vestir e de se comportar. Concernente à análise do pathos, temos que a argumentação de Sarah Sheeva é construída não só a partir de uma lógica, mas também pautada no emocional, e que ela intenta articular a razão e a emoção com a principal finalidade dos aconselhamentos, que seria manter os sujeitos que já a seguem e captar os fiéis que ainda não compartilham dos seus preceitos. Por fim, através da análise dos imaginários sociodiscursivos sobre a mulher, constatamos que há no discurso de Sarah Sheeva a reprodução de um ponto de vista tradicional que condena a liberdade feminina, duramente conquistada ao longo dos anos.

Rape had an indelible effect on the American Revolutionary era. Using trial testimonies and depositions, newspapers, and literary sources, this thesis argues that there was a level of continuity between peacetime and wartime rape characterized by the assaulters’ modus operandi and rape’s ideological exploitation. Eighteenth-century Anglo-American society dictated that rape, or “carnal knowledge of a woman forcibly against her will,” was only a crime against virtuous white women. The gendered and racialized ways pre-revolutionary society identified and prosecuted rape influenced how rapists conducted their assaults. Women had to prove their sexual morality, that penile penetration and male ejaculation occurred, and that they sought help immediately after the assault to prosecute their attackers. During the war, rape became an important metaphor. Wartime publishers and propagandists used reports and victim testimonies as evidence of British immorality and to justify political independence. The rape of America subsumed individual atrocities. The nationalization of women’s sexual virtue continued into the new Republic. Artists and writers memorialized the Revolution through explicitly sexualized narratives and sentimental novels that emphasized female sexual morality. Women’s sexual virtue was linked with the stability of the Republic. This thesis utilizes a diverse historiography to highlight the intersectional correlations between rape and eighteenth-century patriarchal power in America. / Graduate / 2022-08-26

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