No description available.

Th. doct.--Informatique--Grenoble 1, 1995. / Bibliogr. p. 273-283. Résumé en anglais et en français. 1996 d'après la déclaration de dépôt légal.

No description available.

Throughout the ages, the crime/mystery genre has stayed marginally the same with a variety of tropes making their debut as time went on. Many of these tropes were introduced by notable writers, such as, Agatha Christie, Arthur Conan Doyle, Wilkie Collins, Patricia Highsmith, Dorothy L. Sayers, and others. Due to this, the researcher decided to pinpoint the most common or overexposed tropes within this genre and reinvent them within the narrative that the researcher has created. The tropes that will be utilized are the ones with a remote location and limited suspects, having every person connected to the victim to have a viable motive for murder, and the appearance of ordinary objects on or near the victim at the time of their murder that hold the answers to who did it. In the narrative, each trope will be taken and reimagined into a different context to create something new within the crime/mystery genre that has been seldom done before.

Television is a mirror of society and in which we hope to see our lives and existence reflected. When the images shown marginalises your reflection through the use of stereotypes and common tropes it is hard to believe this does not affect the world around you and your perception about yourself. Television is vastly researched and this case study will add to it by analysing how lesbian and bisexual relationships are stereotyped through the use of tropes on Western television shows. Semiotics is used to decipher the underlying meanings of stereotypes and tropes; as stereotypes and tropes marginalise groups of people. By using visual analysis to watch episodes, the scenes analysed through qualitative content analysis proved that same-sex relationships are stereotyped through tropes and rarely challenge previous research. Social interaction based on representation theory solidify the perceptions through television images causing further harm to lesbians and bisexuals.

Texte remanié de: Diss.--Philosophie--Erlangen-Nürnberg, 2002. / Sources et bibliogr. p. 264-296.

Reproduction de : Thèse de doctorat : informatique : Grenoble 1 : 1995. / Titre provenant de l'écran-titre.

Reproduction de : Thèse de doctorat : informatique : Grenoble 1 : 1995. / Titre provenant de l'écran-titre. Bibliogr. p. 253-262.

The tropes of the diablo, the macho, the indio and the bronco have served as a means by which the state of Guerrero, Mexico, has been discursively defined, both externally and internally. I employ a critical reading of these tropes in an analysis of several commemorative performances that characterize the historical imaginary of northern Guerrero. The heart of the study is a description and analysis of the Diablos of Telolopan, a tradition which is celebrated as part of the Fiestas Patrias, and commemorates local participation in Mexico’s War for Independence, 1810-1821. I compare this tradition with other regional commemorations, including alternative fiestas patrias, the Abrazo of Acatempan, and the Festival of Cuauhtémoc, arguing that commemorative performance forms part of a poetics of history which resists the imposition of national hegemonic historiography. I complement the study of local history-making with an analysis of the way in which space and memory come together in the practices that surround death in Teloloapan. / text

This thesis argues that one can fruitfully think of Nelson Goodman's New Riddle of Induction as a reductio ad absurdum of a certain set of views of the relationship between similarities, on the one hand, and properties, concepts, or predicates, on the other. It argues that any view which takes similarities between particulars to be most fundamentally explained by those objects' sharing a property, satisfying a concept, or falling under a predicate leaves itself without the resources to provide a satisfying answer to a Goodmanian sceptic who proposes that inductive inferences using "grue" are equally as warranted as those using "green". I argue for an alternative view of similarity and inductive warrant which holds that the content of perceptual experience includes non-conceptual content the satisfaction conditions of which include that concept-independent similarities obtain. I argue further that it is only on the basis of that non-conceptual content that we are able satisfactorily to distinguish predicates like "grue" from those like "green." We must make such a distinction if we are to provide an acceptable account of inductive warrant. In the course of developing this view, I critique a range of mainstream, contemporary accounts of the relationship between similarities, concepts and properties, and of the role of perceptual experience in justifying empirical beliefs. Chapter 1 argues for a realist view of similarities between particulars which takes our concepts of properties to spring from our observations of those similarities. This view is contrasted with David Armstrong's universal realism, which is rejected. Chapter 2 argues that Goodman's approach to his New Riddle based on entrenchment fails, and argues that if and only if one embraces the view of similarity and concepts that I favor then the New Riddle can be reduced to traditional Humean concerns about induction. Chapters 3 through 5 discuss difficulties for Donald Davidson's approach to the New Riddle, his account of the justification of empirical belief, and his rejection of the very idea of a conceptual scheme, tracing each of these difficulties to Davidson's view that similarities must always be understood in terms of concepts under which particulars fall. Using John McDowell's Mind and World as an example, Chapter 6 argues that any account of perceptual justification of empirical belief according to which the content of perception is limited to conceptual content will fall into the New Riddle, while accounts which permit non-conceptual content can avoid this problem.