Cette thèse est consacrée aux romans de Françoise Sagan portant sur leur rapport à l’illusion et aux faux-semblants. Notre travail consiste d’abord à situer l’écrivaine dans son époque, celle de l’après-guerre, à travers les notions d’engagement, d’absurde ou de mélancolie. L’auteure anticipe ou accompagne l’évolution des mentalités et des mœurs en reconsidérant la place de la femme dans la société et en militant pour plus de liberté. Dans un second temps, la monographie fait porter l’analyse sur la dimension sentimentale des romans de Sagan. La représentation d’un amour désenchanté est soutenue par une écriture féminine et poétique. Enfin, la thèse se concentre sur la pratique omniprésente de l’ironie sous forme de satire, de parodie ou d’autodérision. Sagan effectue la caricature de son « petit monde » tout en gardant une posture distanciée vis-à-vis du lecteur, de la littérature et d’elle-même. / This thesis is devoted to Françoise Sagan’s novels dealing with their links with illusion and make-believe. Firstly, our work consists in setting the writer in her time, the post-war era, through notions of commitment, absurdity or melancholy. The author anticipates or contributes to attitudes and customs’ evolution by reconsidering women’s place in society and by advocating more freedom. Secondly, the monography analyses the sentimental dimension of Françoise Sagan’s novels. Disenchanted love representation is sustained by a feminine and poetic writing. Finally, the thesis focuses on the omnipresent use of irony in satire, parody or self-mockery form. Sagan caricatures her own “little world” and also keeps a distant posture as regard the reader, literature and herself.

Vi omges ständigt av ljus i vår vardag, det finns naturligt ljus samt artificiellt. Även under de grå dagarna finns det ljus och dess närvaro är alltid där även om den inte alltid är som klarast. I detta kandidatarbete beskrivs ljuset ur olika synvinklar, men framförallt hur Rembrandt och impressionisterna i sina konstverk använt ljuset i sitt skapande. För att få en bredare syn på vår process tar vi hjälp av de två begreppen “fluid” och “fire” som kommer från aktör-nätverksteori (ANT). Utifrån den teoretiska delen av arbetet skapas en gestaltning i form av digitala illustrationer med budskapet “våga vara dig själv”. Detta görs i form av olika porträtt där ljuset ligger i fokus inte bara i ljussättningen utan även som en helhet. Med hjälp av den teoretiska och praktiska delen av kandidatarbetet har det framgått att frågeställningen “Hur kan man med illusionen av ljus skapa ett porträtt med digitala medier?” kan besvaras på olika vis, då vi illustrerat ljuset med olika uttrycksätt och visuella språk. / We are constantly surrounded by light in our daily lives, there’s natural and artificial light. During cloudy days there is light and it’s presence is always there even if it’s not the clearest. In this bachelor thesis we examine the light from different angles, but above all how Rembrandt and the impressionists in their artwork used the light. To get a broader view of our process, we use the two terms "fluid" and "fire" from actor-network theory (ANT). Based on the theoretical part of our work, we created digital illustrations with the message “Dare to be yourself”. This is done in the form of various portraits, where the light is in focus not only in the lighting but also as a whole. With the help of the theoretical and practical part of the bachelor thesis we are shown that the question "How can one with the illusion of light create a portrait with digital media?" can be answered in different ways, as we illustrate light with different expressions and visual languages.

Depuis le roman intitulé Les Enchanteurs sous le nom de Romain Gary, acte de naissance de l’écrivain Émile Ajar, jusqu’aux derniers romans signés Émile Ajar, la question de la création littéraire est la ligne conductrice des œuvres de Romain Gary. L’étude de la magie dans l’œuvre romanesque de Romain Gary et Émile Ajar est ainsi dirigée sur le thème de la fidélité en la fiction au sein du roman. Dans la première partie, la foi est examinée sous le modèle du saltimbanque à travers le roman des Enchanteurs. Dans la deuxième partie, l’emprunt d’une identité nouvelle, Ajar, brisant les barrières de la seule identité biologique, implique des changements esthétiques et littéraires. Ces métamorphoses permettent d’analyser les rapports de l’auteur entre être et expression lorsque la création littéraire a une portée ontologique et, de surcroît, les rapports de l’écrivain avec un XXe siècle désenchanté. / From the novel entitled "The Enchanters", written under the name of Romain Gary - the point of origin of the author Emile Ajar - to the last novels signed Emile Ajar, the question of literary creation is the main outline of Romain Gary's works. The study of magic in the romantic works of Romain Gary and Emile Ajar is thus directed towards the theme of fidelity in fiction within the novel. In the first part of the dissertation, faith is scrutinized with the help of a travelling showman through "The Enchanters". In the second, the assumed new identity of Ajar, breaking the barriers of the sole biological identity, implies esthetical and literary changes. These metamorphoses permit the analysis of the author's relation with existence and expression at a moment when literary creation has a metaphysical implication and, in addition, the relation of the writer with a disillusioned 20th century.

Cette thèse se propose d'étudier les aspects de la relation entre littérature, illusion et sens dans le corpus d'Alessandro Baricco, comprenant aussi bien son travail d’essayiste que ses œuvres de fiction. Nous convoquons de la sorte ses recueils de Barnum (1995) à Una certa idea di mondo (2013), des essais comme Next ou I barbari (2002 et 2008) et ses romans de Castelli di rabbia (1991) à La Sposa giovane (2015) – qui peuvent être analysés de différentes manières, stylistiquement, thématiquement, de manière détaillée ou partielle selon les besoins de l’argumentation. Compte tenu de l'ampleur du sujet, relevant tout autant de problématiques philosophiques que de questions sémiologiques, l’étude est focalisée sur la dialectique entre illusion de (la) réalité et vérité fictionnelle, à travers plusieurs prismes. Nous parcourons ainsi les illusions de la postmodernité en tant que nouvelle ère culturelle et littéraire, les remises en cause de l’illusion référentielle, notamment par le biais de l’aspect figural, soit l’exemplarité des personnages baricchiens. Symptomatiques de la tension entre fiction et réalité, eux-mêmes porteurs de thématiques dialoguant avec l’illusion, telles que le désir, le rêve, l’idée de destin, ils nous permettront d’ouvrir la réflexion sur les influences, la résistance, voire la subversion d’une voix narrative qui répond au réel, le conteste ou le diffracte jusqu’à l’émergence d’une autre signifiance. / This thesis intends to study the aspects of the relationship between literature, illusion and meaning in Alessandro Baricco’s corpus, including both essays and novels. We take interest in his collections, from Barnum (1995) to Una certa idea di mondo (2013), as well as his essays such Next or I barbari (2002 and 2008) and his novels from Castelli di rabbia (1991) to La Sposa giovane (2015) – which can be analyzed in various manners, stylistically, thematically, in detail or partially according to the argumentation’s needs. Given the extent of the subject, raising as many philosophical problems as semiotic questions, the study is focused on the dialectic between illusion of (the) reality and fictional truth, through several prisms. We traverse this way the illusions of postmodernity, as a new cultural and literary era, the reassessment of the referential illusion, especially through the figural aspect, that is the exemplary nature of baricchiens characters. Symptomatic of the tension between fiction and reality, they carry themselves themes relating to the illusion, such as desire, dream, the idea of fate. They will enable us to open reflection on the influence, resistance, even the subversion of a narrative voice that responds to reality, contests it or diffracts it until the emergence of another significance.

京都大学 / 0048 / 新制・課程博士 / 博士(人間健康科学) / 甲第22650号 / 人健博第77号 / 新制||人健||5(附属図書館) / 京都大学大学院医学研究科人間健康科学系専攻 / (主査)教授 稲富 宏之, 教授 青山 朋樹, 教授 髙橋 良輔 / 学位規則第4条第1項該当 / Doctor of Human Health Sciences / Kyoto University / DFAM

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The influence of color on size and depth perception has been explored for a century, but there is very limited research on interventions that can reduce the color illusions. This study was motivated to identify interventions and propose design guidelines for information visualization, especially where size judgment is critical. This study replicated the color size illusion and color depth illusion on an LCD monitor and it was found that yellow is the smallest and farthest color among red, yellow, green, and blue on a white background. Three types of interventions (background brightness, border color, and background grid brightness) were tested to identify the conditions that reduce the color illusions, but all of them were not statistically significant. Based on the experiment results and literature survey, design guidelines were proposed. To extend the guidelines to the bioinformatics field, design recommendations were proposed and implementation examples were illustrated. Evaluations on design implementations were evaluated by interviewing domain experts. Additionally, the relationship between the color size illusion and the color depth illusion was explored. / Master of Science

Data shows that many inventors continue to expend resources on their inventions even after they have received expert advice suggesting that they cease effort. Using a sample of inventors seeking outside advice from a Canadian evaluative agency, this paper examines how overconfidence, optimism, and illusion of control explain this fact. While overconfidence did not have a significant effect on inventor's decisions, illusion of control and optimism did have an effect. An additional interesting finding is that the more time people have spent working on inventions, the more likely they are to discount this expert advice.

Following stroke, a patient may fail to report touch administered by another person but claim that s/he feels touch when it is self-administered. In Part One, the self-touch rubber hand paradigm was used to investigate different explanations for this phenomenon, termed self-touch enhancement. The most important finding was that patients reported touch based on feeling rather than by using proprioceptive information. Some patients have residual sensation that could be targeted in sensory rehabilitation. Part Two is a systematic investigation of the illusion of self-touch conducted with neurologically healthy participants. Participants used the right hand to administer touch to a prosthetic hand while the left (receptive) hand, positioned 15 cm from the prosthetic hand, received Examiner-administered touch. Proprioceptively perceived position of the administering and receptive hand was measured. Most participants experienced the single event of self-touch at the location of the receptive hand. Previous investigations have relied on measurement of only one hand and have concluded that participants experience self-touch at the location of the prosthetic hand. Our findings have implications for the role of ownership in this illusion. There is also a series of experiments in Part Two which test four potential constraints on the illusion of self-touch – violated expectations about the object that is administering touch, increased distance between the hands, alignment mismatch, and anatomical implausibility. For example, one study uses a novel paradigm to demonstrate that, although the subjective intensity of the illusion of self-touch is diminished by anatomical implausibility, most participants report the impossible experience of touching their left elbow with their own left index finger. Taken together, these experiments highlight the malleability of body representation, and provide a comprehensive framework for understanding the illusion of self-touch.

The purpose of this essay was to see whether our idea of time might be an illusion, and inorder to find out, I look both at what modern philosophy says about the concept of time aswell as what modern physics says. I want to see if there is consensus between the two fields inorder to find a unified definition of time; and using this definition I want to see whether timemight be an illusion. As it turns out, time is an elusive concept that is difficult to define, andeven though most, if not all, researchers in both philosophy and physics agree that time exists,there is little else they agree on when it comes to explaining what time in fact is. Inphilosophy, there is also disagreement within the field and the discussion centers on time asquality, while physics focus on time as quantity – used to measure the world around us. Giventhe different accounts of time, it seems that each of us are left to make up our own mindsabout how to define it. Whether or not time is an illusion depends on how time is defined.And until there is a clear definition of time it also becomes impossible to say for certainwhether time is an illusion.