台灣向來展現中小企業旺盛的生命力，近年來國際性評比的報告中指出台灣的經商環境與創業精神皆名列世界前茅，然而失敗是創業活動不可避免的一環，愛迪生曾說過：失敗也是我需要的，它與成功對我一樣有價值。既然人們說失敗為成功之母，創業家實際面對時是否能相信失敗具有價值？向失敗學習日趨重要，市面上亦增加許多向失敗學習以取代傳統成功典範的科普書籍，畢竟成功無法複製，卻能以失敗借鏡。從失敗的經驗累積未來進取成功的機會。本研究以曾有失敗或挫折經驗的創業家作為訪談對象，以深度訪談的方式，了解創業家失敗或挫折過後，針對前次經驗作內外部歸因的分析，進而讓創業家執行行為修正。 　　經過深度訪談與資料分析，本研究得出以下三點結論：(1) 面對原來的挫折時，所啟動的「敗因歸納－學習－反思與行為改變」歷程有下列影響：( i ) 內外部歸因前次的挫折，使創業家得到經驗學習的對象，進行反思。( ii ) 以前次的挫折為基礎，修正自我的行為，改變成不再犯同樣錯誤的。( iii ) 歷程過後，反思後得到內化後的能力將成為面對下次創業的依據之一。(2) 歷程中的行為改變可能引發控制錯覺，而成為下一次創業的失敗原因之一：當創業家在「敗因歸納－學習－反思與行為改變」歷程時，將針對前次挫折經驗視為學習與修正自我的對象，正因為創業家專注在解決與修正前一次的行為，使得歷程中的行為改變中，隱藏了下一次創業活動的行為盲點，而成為了當下檢討歷程的控制錯覺之一。(3)研究發現內外部的歸因與內外部資源有關聯：歷程中將內外部歸因以表格式的分類與分析，將敗因學習與行為修正所得到的回饋，轉而成為創業家實際的自我價值與資源。 / Small and medium enterprises in Taiwan have shown people their great vitality. Recently, the international business reports pointed that the entrepreneurial environment in Taiwan and Taiwanese entrepreneurship are almost on the top world. However, it is unavoidable to make mistakes when people stay in entrepreneurial process. There is a quotes spoken by Thomas A. Edison, “Negative results are just what I want. They're just as valuable to me as positive results.” People say that failure is the mother of success whether can entrepreneur really treat failure as a valuable experience? 　　 　　It has been more and more important to learn from failure. We can easily find lots of books talking about this topic. After all, success can’t be copied but people can be able to learn from failure. People can accumulate experiences from failure and make themselves to be success. This research examines how entrepreneurs do with reflection after being failure. Through interviewing 5 entrepreneurs who had been suffered from failure or frustrated experiences, researcher tried to understand the relationships between those experiences and entrepreneur’s behaviors by attribution theory.Through in-depth interviews and data analysis, there are three main findings. First, the process in “attribute frustration - learning from failure - reflection and behavior adjustment” has 3 significant impacts on the behavior of previous setbacks which help entrepreneur achieve. Second, the behavior adjustment in the process may trigger the illusion of control, which may become one of the failure reasons for the next entrepreneurship. Last, according to the research, the dimensions of attribution and the dimensions of entrepreneur’s resources have connection.

La marionnette, petite Marie d’après son étymologie, figure réduite à l’image de l’homme, être diminutif ou condensé, actrice « dramatico-végétale » selon l’écrivain Carlo Collodi, amuse, effraie ou fascine depuis toujours l’être humain. Nous en trouvons des traces dès l’Antiquité en occident. Telle l’automate Olympia dans L’Homme au sable d’Ernst Hoffmann, qui inspira à Freud le concept d’ « Inquiétante étrangeté », la marionnette fait douter le spectateur : celui-ci ressent une étrange impression à la vue d’un objet sans vie qui paraît animé, un malaise comparable à celui qu’il éprouve en voyant une personne se comporter en « Homme-machine » (La Mettrie).Ce travail propose d’explorer l’existence paradoxale des figures inanimées dans le but d’expliquer comment celles-ci semblent prendre vie, mourir ou ressusciter à l’envi. A quel projet artisanal ou fantasme démiurgique répond la fabrication des créatures artificielles ? Comment l’esprit vient aux objets ? Quelles parts occupent le mouvement impulsé par le manipulateur et les croyances et projections du spectateur dans ce mystérieux phénomène d’animation ? Ce travail qui s’inscrit dans le domaine des études théâtrales traverse d’autres champs disciplinaires, notamment la littérature, la psychanalyse, la philosophie, l’anthropologie et l’histoire. / The puppet, or marionnete, - little Marie etymologically –, a human model, in reduction, a diminutive or condensed creature, a « dramatico-vegetable » actor in the eyes of writer Carlo Collodi, has always amused, frightened or fascinated mankind. Traces of puppets are to be found early in western ancient times. In much the same way as the automaton Olympia, in Ernst Hoffmann's The Sand Man, inspired Freud's concept of « disquieting strangeness », (Unheimliche), the puppet creates doubt in the spectator's mind : the latter feels strange when viewing an inanimate object apparently gifted with life, an unease akin to that which one feels if confronted with a human behaving like a ' « Man-machine » (La Mettrie).This work aims at exploring the paradoxical world of inanimate figures in order to explain how those seem to acquire life, lose it or come to life again at will. To what craft project or demiurgic fantasy does the making of artificial creatures answer ? How does the soul come to those objects ? What are the shares of the motions impulsed by the puppet manipulator and the beliefs and projections of the spectators, in that mysterious phenomenon of animation. The present work, although fully belonging to the field of drama studies, crosses others, notably literature, psychoanalysis, philosophy, anthropology and history.

Syftet med föreliggande studie var att ta fram ett svenskt material för att undersöka mottagligheten för semantiska illusioner vid bearbetning av auditivt språkligt meddelande hos vuxna individer utan kommunikationsstörning. Utöver detta syftade även studien till att undersöka om mottaglighet för den semantiska illusionseffekten är relaterad till lexikal åtkomst och arbetsminneskapacitet. I studiens initiala skede utformades det nya testmaterialet Auditivt test av mottaglighet för semantiska illusioner (ATSI). ATSI består av tre deltest, varje deltest innefattar 40 påståenden med en jämn fördelning av sanna påståenden, falska påståenden och illusoriska påståenden. Deltagarna i studien bestod av 30 vuxna individer utan kommunikationsstörning. Deltagarnas uppgift var att avgöra om påståendena i ATSI var sanna eller falska. Utöver ATSI utförde även deltagarna test gällande lexikal åtkomst och arbetsminneskapacitet. Effekten av semantiska illusioner analyserades genom t-test och visade att illusionseffekten var statistiskt signifikant. Resultaten från ATSI korrelerades med deltagarnas prestation gällande lexikal åtkomst och arbetsminneskapacitet. Hur lurade deltagarna blev av den semantiska illusionseffekten korrelerade med lexikal åtkomst. I föreliggande studie kunde inget samband observeras mellan hur lurade deltagarna blev och arbetsminneskapacitet. I diskussionen förs i föreliggande studie resonemang kring varierande metodologiska aspekter likväl som resultatens implikationer för den språkliga bearbetningsprocessen. Slutsatsen i föreliggande studie är att den semantiska illusionen är ett stabilt fenomen som har effekt vid bearbetning av språkligt meddelande auditivt. / The aim of this study was to construct a Swedish test material in order to examine the susceptibility for semantic illusions in adults without any communication disorders when processing verbal input of language. Furthermore the study aimed to investigate if the susceptibility for semantic illusions relates to the individual’s lexical access speed and working memory capacity. In order to accomplish the aim of the study, a new auditory test material called Auditivt Test av mottaglighet för Semantiska Illusioner (ATSI) was created. ATSI consists of three separate test sections, each containing 40 statements with an even distribution of true statements, false statements and statements containing the semantic illusion. The participants had to decide whether each statement was true or false. The participants in this study consisted of 30 adult individuals without communication disorders. Furthermore the participants performed test regarding lexical access speed and working memory capacity. The effects of semantic illusions were analyzed trough t-tests and found to be statistically significant. Correlation analysis were made between result from ATSI and lexical access speed as well as between results from ATSI and working memory capacity. How tricked the participants were by the semantic illusions was related to lexical access, but not working memory capacity. Methodological aspects are discussed in this study as well as the result’s implication for language processing. The conclusion is that semantic illusions is a stabile phenomenon, and it occurs when processing spoken sentences.

O uso lesivo de bebidas alcoólicas é o terceiro maior fator mundial de risco de doenças e incapacitação. O álcool pode causar várias alterações no Sistema Nervoso Central (SNC), dentre elas, a diminuição do processamento de informações visuais. Alguns estudos avaliam as alterações nos processos perceptuais durante a Síndrome de Abstinência do Álcool (SAA) por meio da ilusão visual da máscara côncava. Essa ilusão exemplifica o fenômeno ilusório de inversão visual da profundidade de uma máscara humana oca, que é percebida como convexa. Foi encontrado um possível desequilíbrio entre os componentes bottom-up e top-down da percepção visual provocado pelo álcool, capaz de prejudicar a capacidade do indivíduo de perceber essa ilusão. Entretanto, a presente pesquisa investiga uma hipótese alternativa, e sugere que a redução na frequência de respostas de inversão pode resultar de mudanças de critérios para emitir as repostas e não em alterações perceptuais. Para isso, foram utilizados os parâmetros da Teoria da Detecção de Sinal (TDS) aplicada à psicofísica. Participaram da pesquisa 20 indivíduos saudáveis, 20 com SAA leve e 20 com SAA moderada. Eles realizaram duas tarefas experimentais de observação monocular dos lados côncavo e convexo, alternadamente, de uma máscara da face humana de tamanho reduzido. Na tarefa de confidence rating, foram julgadas a concavidade ou convexidade da máscara e o grau de certeza nas respostas, com certeza ou com dúvida. Na tarefa de escolha forçada entre duas alternativas (2AFC), as máscaras foram apresentadas aos pares alternados e o participante identificava o lado côncavo. A análise dos resultados revelou que os indivíduos com SAA moderada apresentaram maiores escores para os índices de sensibilidade R-index, Az, e da, na tarefa de confidence rating, apontando para uma capacidade significativamente maior de identificação e discriminação dos lados côncavo e convexo da máscara. Isto reflete um prejuízo significativo na capacidade destes indivíduos em perceber a ilusão da máscara côncava. Não houve diferença entre os grupos de indivíduos saudáveis e com SAA leve. Entretanto, os grupos com SAA apresentaram um maior grau de certeza em seus julgamentos comparativamente ao grupo controle. Resultados semelhantes para o grupo com SAA moderada foram encontrados na tarefa de escolha forçada para os índices d e taxa de acerto, indicando maior capacidade desses indivíduos em discriminar os dois lados da máscara. Todos os participantes apresentaram critérios de decisão moderados na tarefa de confidence rating. Os indivíduos saudáveis, na tarefa de escolha forçada, se mostraram tão capazes quanto os com SAA moderada na discriminação dos dois lados da máscara. Os indivíduos saudáveis, na tarefa de escolha forçada, se mostraram tão capazes quanto os com SAA moderada na discriminação dos dois lados da máscara. Entretanto, supõe-se que esses resultados foram provenientes de estratégias inesperadas por esses indivíduos em seus julgamentos, prejudicando a validade interna dos resultados; e representam um viés de pesquisa importante. As análises apontam para um possível desequilíbrio, já relatado em estudos anteriores, entre os componentes bottom-up e top-down da percepção visual, provocado pelo álcool, que impede o SNC de corrigir hipóteses perceptuais ambíguas. / The harmful use of alcoholic beverages is the third largest worldwide risk factor for illness and disability. Alcohol can cause several changes in the Central Nervous System (CNS), among them, the decrease in the processing of visual information. Some studies evaluate changes in perceptual processes during Alcohol Withdrawal Syndrome (AWS) through the hollow face illusion. Its exemplifies the illusory visual depth inversion of a hollow human mask, which is perceived as convex. A possible imbalance was found between the bottomup and top-down components of visual perception caused by alcohol, which could impair the individual\'s ability to perceive the illusion. However, the present research investigates an alternative hypothesis, and suggests that the reduction in the frequency of inversion responses may result from changes in the criteria to issue responses rather than on perceptual changes. The parameters of the Signal Detection Theory (SDT) applied to psychophysics allow this analysis. Twenty healthy subjects, 20 with mild AWS and 20 with moderate AWS participated in the study. They performed two experimental tasks of monocular observation of concave and convex sides, alternately, of a reduced size human face mask. In the task of confidence rating, the concavity or convexity of the mask and the degree of certainty in the answers were judged: certainly or with doubt. In the task of forced choice between two alternatives (2AFC), the masks were presented in alternating pairs and the participant identified the concave side. The analysis of the results revealed that individuals with moderate AWS presented higher scores for the sensitivity index scores R-index, Az, and da, pointing to a significantly greater capacity of identification and discrimination of the concave and convex sides of the mask. This reflects a significant impairment in the ability of these individuals to perceive the hollow face illusion. There was no difference between healthy individuals and with mild AWS. However, all groups with AWS presented a greater degree of certainty in their judgments compared to the control group. Similar results for the group with moderate AWS were found in the task of forced choice to the indices d and hit rate, indicating a greater ability of these individuals to discriminate both sides of the mask. Healthy subjects, on the task of forced choice, showed themselves to be as capable as those with moderate AWS in discriminating both sides of the mask. However, it supposed that these results were from unexpected strategies used by these individuals in their judgments, impairing the internal validity of the results, and represented an important research bias. The analyzes point to a possible imbalance, already reported in previous studies, between the bottom-up and top-down components of visual perception, caused by alcohol, which inhibits the CNS from correcting ambiguous perceptual hypotheses.

Este trabalho tem por objetivo analisar os processos composicionais do Kyrie, segundo movimento do Réquiem (1963-65), de György Ligeti. Segundo seu compositor, essa peça é uma \"estranha fuga\" e, como tal, receberá durante nosso trabalho a terminologia correspondente a essa declaração. No primeiro capítulo, investigaremos a microestrutura da obra e perceberemos aí o caráter direcional das alturas do Sujeito 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) e as simetrias que descrevem o Sujeito 2, Christe eleison (Weyl, 1997; McManus, 2005). No segundo capítulo, discutiremos o conceito de ilusão sonora (Caznok, 2008; Vitale, 2013; Menezes, 2004), sua recorrência na obra de Ligeti e na compreensão da superfície audível do Kyrie. No terceiro e último capítulo, retomaremos alguns aspectos da história do termo \"fuga\" (Mann, 1987) na busca de reflexos dessa história na escrita de Ligeti. Durante todo o nosso texto, lembraremos de outras obras artísticas que, em diálogo com o Kyrie, nos ajudarão a exemplificar, contrapor ou ratificar procedimentos composicionais da obra de Ligeti. Nossa investigação tende a situar a obra desse compositor na questão da Tradição e Ruptura, problematizada pela modernidade (Arendt, 2013; Compagnon, 2010), a partir de uma abordagem prática: a da análise musical. / This work aims to analyze the compositional process of Kyrie, the second movement of Réquiem (1963-95), by György Ligeti. According to Ligeti, this piece is a \"strange fugue\" and, as such, we will use a terminology corresponding to that statement. In the first chapter, we will investigate the microstructure of the piece and we will find the pitches\' directionality of the Subject 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) and the symmetries that characterizes the Subject 2, Christe eleison (Weyl, 1997; McManus, 2005). In the second chapter, we will discuss the concept of sound illusion (Caznok, 2008; Vitale, 2013; Menezes, 2004), its recurrence in Ligeti\'s repertoire and its relevance to the understanding of the audible surface of Kyrie. In the third chapter, we will remember some aspects of the history of the word \"fugue\" (Mann, 1987), looking for reflections of this history in the Kyrie. During our argumentation, we will bring out another works of art, which will be related to the Kyrie, helping us to illustrate, oppose or endorse the compositional procedures of Ligeti\'s work. Our research tends to situate the Kyrie in the context of Tradition and Rupture, considered by modernity (Arendt, 2013; Compagnon 2012), from a practical approach, the analytical research

Jag har valt att kalla mitt projekt ”Whereabouts”, vilket betyder plats eller tillhåll. Och det är just en plats som jag försöker skapa i mitt examensarbete. Arbetet handlar om textil i rum och hur jag kan använda mig utav textil för att bygga upp en rumslighet. Fokus ligger på offentlig miljö, och hur jag i en sådan miljö kan skapa en plats för avskildhet och lugn. Lite som ett gömställe att fly till när omgivningen blir stökig och orolig. Det hela resulterar i en rumsavdelare i form av ett textilt tak och golv.Kärnan i projektet är att utforska hur jag kan skapa rumslighet, eller snarare illusionen av rumslighet då jag inte använder mig av några väggar som stänger av flödet i rummet. Istället undersöker jag om det skapas en känsla av att kliva in i ett annat område eller rum genom att föra in ett extra, lägre tak över ett begränsat område. Om det skapas en annan atmosfär under taket. För att ytterligare bygga på detta, arbetar jag även fram ett golv, som fungerar som en avspegling av taket och därmed binder ihop golv och tak.“Whereabouts” is a hideaway, a place to escape to when the surroundings are noisy and unrestful. With a room divider, in the form of a textile ceiling and floor, a place of serenity is created in the public room. Inspired by the spatiality created underneath the tree crown and of the light that seeps through the leaves, “Whereabouts” forms a more natural atmosphere in an otherwise artificial context.The work revolves around the use of textiles in interiors and how I can create spatiality, or rather the illusion of it, not using any walls. Instead, I examine whether the use of a ceiling and floor can create a different atmosphere and a sense of space. / Program: Textildesignutbildningen

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Este nÃo pretende ser um trabalho meramente expositivo. Portanto, deseja-se que, a partir dele, algumas questÃes de importÃncia capital para a compreensÃo da Filosofia TeÃrica de Kant sejam nÃo somente erigidas, mas principalmente solucionadas. O ponto de partida inicial consiste no levantamento da seguinte indagaÃÃo: âExerceriam as intuiÃÃes sensÃveis o papel de juiz supremo na dissoluÃÃo das ilusÃes transcendentais?â. Segundo a interpretaÃÃo mais recorrente da âCrÃtica da RazÃo Puraâ â como parece ser o caso das leituras de Cohen, Strawson, bem como de uma sÃrie de outras a serem identificadas â a resposta à questÃo anterior seria afirmativa. Tal concepÃÃo (conforme revelarà este estudo) advogarà que, em Ãltima instÃncia, todas as questÃes da MetafÃsica tradicional (prÃ-kantiana) sÃo denunciadas por Kant como ilegÃtimas precisamente porque nÃo pode ser apresentado, na intuiÃÃo sensÃvel, um objeto que seja correspondente Ãs idÃias por ela construÃdas. Portanto, Kant nÃo teria feito nada mais do que esboÃar uma teoria da possibilidade da experiÃncia (a EstÃtica e a AnalÃtica Transcendentais) e restringir todo o conhecimento humano a este domÃnio, de modo a postular que as questÃes metafÃsicas sÃo ilegÃtimas por nÃo se submeterem Ãs exigÃncias epistÃmicas originais aà esboÃadas. Este trabalho entende que a compreensÃo acima referida desta problemÃtica à insuficiente, haja vista negligenciar o fato de que hÃ, na âCrÃtica da RazÃo Puraâ, nÃo somente uma anunciaÃÃo dogmÃtica, mas uma justificaÃÃo da tese de que todo o conhecimento humano à restrito à esfera da sensibilidade (solo da experiÃncia possÃvel). Esta justificaÃÃo nÃo à outra se nÃo a crÃtica das ilusÃes transcendentais realizada pela DialÃtica Transcendental. Por meio dos Paralogismos da RazÃo Pura, das Antinomias da RazÃo Pura e do Ideal da RazÃo Pura, os silogismos realizados naturalmente pela razÃo serÃo revelados como as balizas para erigirem uma incoerÃncia que diz respeito antes à nÃo assunÃÃo dos propÃsitos iniciais da razÃo do que a uma inadequaÃÃo Ãs exigÃncias da sensibilidade. Tais incoerÃncias sÃo as ilusÃes transcendentais da existÃncia da alma, do mundo (totalidade dos fenÃmenos) e de Deus â os respectivos objetos da Psicologia, Cosmologia e Teologia Racionais. Tentaremos mostrar, por ocasiÃo deste trabalho, que a ilusÃo de afirmar, mediante silogismos a priori, a existÃncia destes objetos consiste primeiramente numa inadequaÃÃo com os propÃsitos iniciais da razÃo pura (mesmo que esta venha a, posteriormente, configurar ilusoriamente tais existÃncias) e, somente por conseqÃÃncia disto, tambÃm com as exigÃncias expressas na EstÃtica e na AnalÃtica Transcendentais. Isto exige do empreendimento a ser realizado neste estudo, portanto, uma CrÃtica da Psicologia Racional, uma CrÃtica da Cosmologia Racional e uma CrÃtica da Teologia Racional. Deste modo, justificarÃamos a tese de que todo conhecimento està reduzido à esfera da sensibilidade e esclarecerÃamos, assim, o porquà dessa ilusÃo ser considerada, por Kant, como transcendental, racional e, portanto, inevitÃvel â esclarecimento este que a referida âinterpretaÃÃo recorrenteâ se abstÃm de realizar. / This study is not meant to be merely expository. Therefore, the aim is that some questions of capital importance for the understanding of Kantâs Theoretic Philosophy not only be raised but also resolved, based on this study. The initial starting point consists of raising the following question: âWill sensitive intuition exercise the role of supreme judge in the dissolution of transcendental illusionsâ? According to the most reoccurring interpretation of the âCritique of Pure Reason,â the answer to the aforementioned question will be affirmative, as seems to be the case in the interpretations of Cohen, Strawson, as well as a series of others to be identified. Such a concept (according to what will be revealed in the study), will advocate, in the end, that all the questions of traditional Metaphysics (pre-Kant) are denounced by Kant as illegitimate, precisely because they can not be presented in sensitive intuition, an object which corresponds to the ideas which it, itself has constructed. Hence, Kant would have done nothing more than outline a theory of the possibility of experience (Transcendental Aesthetic and Transcendental Analytic) and restrict all human knowledge to this domain, in a way which assumes that metaphysical questions are illegitimate, as they are not subject to the original epistemic demands, therein outlined. This study assumes that the understanding of this problem, mentioned above, is insufficient, in that it has neglected the fact that there is, in the âCritique of Pure Reason,â not only a dogmatic announcement of, but also a justification of the thesis that all human knowledge is restricted to the sphere of sensibility (grounds of the possibility of experience). This justification is none other than the critique of transcendental illusions made by Transcendental Dialectic. Through the Paralogisms of Pure Reason, the Antinomies of Pure Reason and the Ideal of Pure Reason, the syllogism realized naturally by reason, will be revealed as the foundation for raising an incoherency regarding the non-assumption of the initial proposals of reason, rather than an inadequacy of the demands of sensibility. Such incoherencies are the transcendental illusions of the existence of the soul, the world (the totality of phenomenon) and of God â the respective objects of psychology, cosmology and Rational Theology. We will attempt to show, in this study, that the illusion of affirming the existence of these objects, in light of the syllogisms a priori, consists firstly, in an inadequacy with the initial proposals of pure reason (even if later this becomes an illusionary configuration of such existences) and only as a consequence of it; and also with the express demands of Transcendental Aesthetic and Transcendental Analytic. Hence, this requires a Critique of Rational Psychology, a Critique of Rational Cosmology and a Critique of Rational Theology for the realization of the task in this study. In this way we will justify the thesis that all knowledge is reduced to the sphere of sensibility and will thus clarity why this illusion is considered by Kant to be transcendental, rational and inevitable. This clarification is what the aforementioned âreoccurring interpretationâ fails to do.

Este trabalho tem por objetivo analisar os processos composicionais do Kyrie, segundo movimento do Réquiem (1963-65), de György Ligeti. Segundo seu compositor, essa peça é uma \"estranha fuga\" e, como tal, receberá durante nosso trabalho a terminologia correspondente a essa declaração. No primeiro capítulo, investigaremos a microestrutura da obra e perceberemos aí o caráter direcional das alturas do Sujeito 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) e as simetrias que descrevem o Sujeito 2, Christe eleison (Weyl, 1997; McManus, 2005). No segundo capítulo, discutiremos o conceito de ilusão sonora (Caznok, 2008; Vitale, 2013; Menezes, 2004), sua recorrência na obra de Ligeti e na compreensão da superfície audível do Kyrie. No terceiro e último capítulo, retomaremos alguns aspectos da história do termo \"fuga\" (Mann, 1987) na busca de reflexos dessa história na escrita de Ligeti. Durante todo o nosso texto, lembraremos de outras obras artísticas que, em diálogo com o Kyrie, nos ajudarão a exemplificar, contrapor ou ratificar procedimentos composicionais da obra de Ligeti. Nossa investigação tende a situar a obra desse compositor na questão da Tradição e Ruptura, problematizada pela modernidade (Arendt, 2013; Compagnon, 2010), a partir de uma abordagem prática: a da análise musical. / This work aims to analyze the compositional process of Kyrie, the second movement of Réquiem (1963-95), by György Ligeti. According to Ligeti, this piece is a \"strange fugue\" and, as such, we will use a terminology corresponding to that statement. In the first chapter, we will investigate the microstructure of the piece and we will find the pitches\' directionality of the Subject 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) and the symmetries that characterizes the Subject 2, Christe eleison (Weyl, 1997; McManus, 2005). In the second chapter, we will discuss the concept of sound illusion (Caznok, 2008; Vitale, 2013; Menezes, 2004), its recurrence in Ligeti\'s repertoire and its relevance to the understanding of the audible surface of Kyrie. In the third chapter, we will remember some aspects of the history of the word \"fugue\" (Mann, 1987), looking for reflections of this history in the Kyrie. During our argumentation, we will bring out another works of art, which will be related to the Kyrie, helping us to illustrate, oppose or endorse the compositional procedures of Ligeti\'s work. Our research tends to situate the Kyrie in the context of Tradition and Rupture, considered by modernity (Arendt, 2013; Compagnon 2012), from a practical approach, the analytical research

<p>In this thesis, high quality adverts are examined from the perspective of the advertisement contest Guldägget. The study discusses award-winning advertisement, both in terms of content and design, according to Guldägget’s jury members, industry experts and various theorists. Semiotics is used to analyse Guldägget’s winning adverts. These analyses, in combination with additional material and theories, are used to clarify what constitutes good communication. One of the conclusions drawn is that the essence of the theories is clearly visible in the winning adverts. Adverts should be narrative in form without being pushy or stating the obvious. Receivers should function as co-creators of the story/message. Adverts should contain only the most essential information or elements necessary to effectively deliver the message. Text and images should complement each other without being too obvious. Finally, pre-conceived ideas and contexts are commonly used to make receivers respond to the message in a particular way.</p> / <p>I denna uppsats undersöks reklam med god kvalitet sett utifrån reklamtävlingen Guldägget. Undersökningen behandlar den vinnande reklamen och huruvida den bör se ut och vad den bör innehålla enligt guldäggsjuryn, branschexperter och olika teoretiker. Semiotik används som redskap för att analysera de guldäggsbelönade annonserna. Dessa analyser, tillsammans med uppsatsens övriga material och teorier, används för att se vad som räknas som god visuell kommunikation. Jag kom bland annat fram till att de begrepp som lyfts fram i teorierna används i de belönade bidragen. Annonserna ska vara berättande i sin form utan att vara påtvingande eller peka på det uppenbara. Mottagaren bör fungera som en medskapare av berättelsen/budskapet. Annonserna bör enbart innehålla sådan information eller element som är mest nödvändig för att nå ut med ärendet. Text och bild ska komplettera varandra så att det inte blir för övertydligt. Det är även vanligt att invanda föreställningar och kontexter används för att få mottagarna att ta till sig budskapet på ett visst sätt.</p>

Pilot spatial disorientation (SD) is a significant cause of incidents and fatal accidents in aviation. The pilot is susceptible to SD especially in low visibility when the visual system is deprived of information from outside the cockpit. This thesis presents the notion of visual flow displays as enhancement of symbology on flight displays primarily in low visibility for improved support of the pilot’s spatial orientation (SO) and control actions. In Studies I and II, synthetic visual flow of forward ego-motion was presented on displays and postural responses were used as measures of display effectiveness in determining SO. The visual flow significantly affected SO, and although the increased stimulation of the visual periphery from a width of 45° to about 105° increased the effects there was no further effect at a width of about 150° (Studies I and II). Studies I and II also showed that omitting 20°- or 30°-wide central fields of view from the visual flow either reduced or not reduced the effects. Further, although inconclusive, Study II may indicate that horizon symbology in central visual field may enhance the effects of peripheral visual flow. The appropriate integration of peripheral visual flow with the head-up display symbology of the Gripen aircraft was presented. Acceleration in a human centrifuge was used in Study III to investigate the effects of synthetic visual flow on the primarily vestibular-dependent somatogravic illusion of pitch-up. Two experiments revealed a reduced illusion with the visual flow. The results of Experiment 2 showed the visual flow scene not only reduced the illusion compared with a darkness condition but also compared with the visual scene without visual flow. Thus, similar to the main findings of Studies I and II, synthetic visual flow can significantly affect SO and supports the visually dependent SO system in an essential manner.