The aim of this thesis is to see how the centenary of the Titanic disaster is observed in the cities Belfast, Southampton and Halifax. It also contains a Swedish perspective to the event. There is a part of the thesis which is focused on an analysis of what memorials and memories mean to the disaster and the survival of the very same. The main sources of the thesis have mostly been internet editions of newspapers from the cities mentioned above, but also the paper editions of two of the biggest Swedish newspapers. An analysis of these sources shows that the memory of the Titanic, and foremost its passengers and crew is still alive. The perished were honoured at the commemorations through denudations of new memorials and descendants who paid their respects. The analysis also shows that the memory of the Titanic and the identity it created are important elements, primarily in Southampton and Belfast. These two cities embrace their Titanic heritage by exhibitions, both permanent and temporary ones. The conclusion of the analysis is that the memories of the Titanic are observed in different ways depending of which city it is. Belfast is a lot about remembering the construction; Southampton remembers the departure and Halifax focus on the perished, although, all three cities honour the catastrophe and the victims. No matter how the centenary is respected, one can easily notice that the Titanic is remembered; the question now is if the ship of dreams is immortal or if the disaster one day will fade to oblivion?

The sinking of the RMS Titanic has achieved a difficult feat ��� it has remained culturally relevant. The dedication of the general public to understanding Titanic is evident in many avenues of popular and consumer culture. For those individuals who did not get enough of the 1997 Titanic movie, there are numerous Titanic museums and attractions to visit. What interests me as a scholar of historic dress is that the 1997 film is often used as a lens through which the historical events are interpreted and understood. More specifically the character of Rose (from the 1997 Titanic movie) has been translated from a film character to a living history character. Rose has become an integral part of the marketing and exhibiting techniques at some Titanic museum attractions. The purpose of this research was to conduct an introductory exploration of the role of film costume iconography in learning about a historical event and the development of a personal connection with an iconic character in the context of that event. Four permanent Titanic museum attractions were selected as sites of study: museum attractions in Branson, Missouri; Pigeon Forge, Tennessee; Orlando, Florida; and Las Vegas, Nevada. A total of 32 participants were included. Both museum attraction visitors and staff participated in this study; twenty-nine participants were classified as visitors and three participants were classified as staff. Phenomenological and inductive approaches were undertaken. Qualitative (personal phenomenology, phenomenological interviews, and brief participant observation) data collection techniques were employed. Both descriptive and experiential phenomenological and narrative approaches were combined to analyze the resulting data. I utilized a descriptive phenomenological method outlined by Giorgi and Giorgi (2003), and I made modifications to the procedure to fit the unique needs of my data. Data collection occurred in two phases at each location. In phase one, I participated in personal phenomenology during a visit to each museum attraction. In phase two, I collected data with participants. Data collection with visitor participants occurred in three stages: (1) pre-museum attraction visit interview, (2) the participant visited a Titanic museum attraction, and (3) post-museum attraction visit interview. I collected data with each staff participant during one interview. The findings of this study revealed that there are many perspectives from which to tell the story of Titanic and help museum attraction visitors learn the history of the ill-fated ship. I found that Rose did not factor into the decision of the participants to visit a Titanic museum attraction. If a participant learned from or about Rose, she did not factor into the learning or personal meaning-making process until he or she was inside the museum attraction. It was more common for participants to relate to the historical events of Titanic through the movie as a whole, as opposed to the specific character of Rose. The scenario of including a Rose living history interpreter as part of the lived experience of a museum visit elicited a wide range of reactions from participants. It was more common for participants to oppose the presence of a Rose living history interpreter than favor her presence. Several participants reported instances when they drew a spontaneous connection to the movie or were reminded of the movie in their own mind. Several participants used the movie as a foundation to build further historical understanding about Titanic. Some participants used the movie as a source of comparison to explore or confirm the accuracy of the movie. The primary difference in the museum attraction experience for visitors who had not seen the movie was that they encountered difficulty in relating and paying attention to any content or reference to the movie. A general phenomenological structure was formed from the data. As part of this study, I sought to further expand the body of literature that applies visual rhetorical theory and semiotic theory to dress and costume. A discussion of the resulting theoretical implications is included. An outcome of the phenomenological data collection and analysis was a list of recommendations for future practice specifically related to the display of dress and costume in both Titanic museum attractions and museums in general. I conclude with recommendations for future research and a reflective summary. / Graduation date: 2013

Master of Science / Statistics / Christopher Vahl / When exploring data, predictive analytics techniques have proven to be effective. In this report, the efficiency of several predictive analytics methods are explored. During the time of this study, Kaggle.com, a data science competition website, had the predictive modeling competition, "Titanic: Machine Learning from Disaster" available. This competition posed a classification problem to build a predictive model to predict the survival of passengers on the RMS Titanic. The focus of our approach was on applying a traditional classification and regression tree algorithm. The algorithm is greedy and can over fit the training data, which consequently can yield non-optimal prediction accuracy. In efforts to correct such issues with using the classification and regression tree algorithm, we have implemented cost complexity pruning and ensemble methods such as bagging and random forests. However, no improvement was observed here which may be an artifact associated with the Titanic data and may not be representative of those methods’ performances. The decision trees and prediction accuracy of each method are presented and compared. Results indicate that the predictors sex/title, fare price, age, and passenger class are the most important variables in predicting survival of the passengers.

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The purpose of this paper is to examine the image of the Titanic disaster in two Swedish newspapers reports of the disaster. By analysing various newspapers reporting of the disaster, we wish to investigate whether there are differences in reporting of gender and class in order to say something about the contemporary outlook and the prevailing social beliefs. The source material that the study is based upon comes from the Swedish newspapers Aftonbladet and Svenska Dagbladet and their reports from the 15 April to the 30 April 1912 and the reporting from the time of the sea-hearings completion (22 May and 31 July 1912). The study finds that news reporting follows the same standards, however, are different in style of performance because of the newspapers' differing positions. The study finds that a distinction is made between the reporting of men's and women's behaviour. Whether a man followed or violated norms leads him criticized or praised in the newspapers. Women's behaviour is hailed independent if they followed the standard of what was feminine or masculine behaviour in a disaster. The study also finds that a distinction is made between passengers of the various classes in the reporting. The majority of reports concerning individuals in the First Class are in positive terms. Second Class is mentioned sparingly. Third Class passengers often stand as examples of improper behaviour. Third Class passengers are not mentioned as individuals in the reporting, in addition to the list of Swedish passengers. From the study of the newspapers reports the conclusion is that the upper social classes’ behaviour is acceptable and should be transferred to the lower social classes. The upper class will stand as a beacon for the whole community.

Orientador: Edson Tomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Química / Made available in DSpace on 2018-08-20T15:20:31Z (GMT). No. of bitstreams: 1 Rochetto_UrsulaLuana_M.pdf: 1487401 bytes, checksum: 7ee4393dada036765daf251f3b1f97d9 (MD5) Previous issue date: 2012 / Resumo: O estudo de técnicas eficazes e economicamente viáveis para o tratamento de compostos orgânicos voláteis (COV) tem recebido maior importância nas pesquisas ambientais. Neste trabalho apresenta-se a fotocatálise heterogênea em fase gasosa para a degradação de o-xileno, n-hexano, n-octano, n-decano, metilciclohexano e 2,2,4-trimetilpentano. O sistema experimental compunha-se de um reator anular pistonado de titânio contendo um cilindro de quartzo com uma lâmpada UV de 100 W centralizada a 1,7 cm das paredes de quartzo. Um filme de dióxido de titânio (TiO2) foi imobilizado nas paredes internas do reator e utilizado como catalisador. Todas as medições foram realizadas depois que uma condição de estado estacionário foi alcançada e o monitoramento foi feito na entrada e na saída do sistema. As taxas de conversão foram estudadas em uma ampla faixa de tempos de residência obtendo-se conversão de 90% ou acima para tempos de residência a partir de 20 segundos. Durante a realização dos experimentos a temperatura da parede do reator foi monitorada e permaneceu entre 52 e 62 °C, sua influência nas taxas de degradação foi desprezível, uma vez que um experimento realizado com reator encamisado a 15 °C não alterou os resultados obtidos. O efeito da umidade relativa também foi avaliado obtendo-se uma faixa ideal de trabalho de 10 a 80%, com brusco decaimento da conversão para valores fora desta faixa. Ao variar a concentração inicial do COV entre 60 e 110 ppmv as curvas de degradação não sofreram alterações. Foi observada perda de atividade catalítica apenas para o-xileno após 30 minutos de reação sendo o catalisador reativado com solução de peróxido de hidrogênio, iluminação UV e reaplicação da camada catalítica. A cinética estudada sugere uma taxa de reação de primeira ordem e devido às baixas concentrações dos compostos utilizadas, o modelo de adsorção de Langmuir-Hinshelwood também foi aplicável. A fotocatálise heterogênea em fase gasosa demonstrou ser um processo eficaz na degradação dos COV testados, obtendo-se altas conversões para os sistemas otimizados / Abstract: The study of effective and economically viable techniques on the treatment of volatile organic compounds (VOC) has being highlighted as an important parameter on the environmental research. In this work we present an overview over the heterogeneous photocatalysis performed in gas phase towards the degradation of o-xylene, n-hexane, n-octane, n-decane, methylcyclohexane and 2,2,4-trimethylpentane. The experimental set-up was composed by a titanium plug flow reactor vessel containing a quartz tube with a 100 W UV lamp placed at center position from 1.7 cm to the quartz wall. A titanium dioxide (TiO2) film was immobilized on the internal walls of the reactor and used as catalyst. All measurements were taken after a steady state condition has been reached and evaluated at the inlet and outlet of the system. The conversion rates were studied in a wide range of residence times yielding to a 90% or above conversion as from 20 seconds of residence time. During the experiments the temperature of the reactor's wall was monitored and remained between 52 and 62 °C. The temperature influence over the degradation rates was negligible once a control experiment performed at 15 °C did not modify the outgoing results. The humidity effect was also evaluated showing an ideal working range of 10 - 80% with abrupt conversion decay outside the range. By varying the initial concentration between 60 and 110 ppmv the VOC degradation curves remained unchanged. Loss over the catalytic activity was only observed for o-xylene after 30 minutes of reaction, the catalyst was reactivated with a solution of hydrogen peroxide and UV light followed by redeposition of the catalytic layer. The kinetic study suggests a first order reaction rate and due to the low concentrations of compounds used the Langmuir-Hinshelwood adsorption model was also applicable. The heterogeneous photocatalysis in gas phase was proved to be an effective process for the degradation of the VOC tested yielding to high conversion values for the optimized systems / Mestrado / Desenvolvimento de Processos Químicos / Mestre em Engenharia Química

The following discussion of Northrop Frye and Herman Melville is based on the theoretical framework outlined in Words With Power which emphasizes the "demonic" and "titanic" elements in the ascent and descent of the hero's quest. The study focusses upon Frye's archetype of the labyrinth and the Biblical typology which aids the critic in the task of literary interpretation. Frye claims that "anyone interested in both the Bible and literature will eventually find himself revolving around the Book of Job like a satellite" (Frye WP 310). Melville's MobyDick is "interested" in the Bible more than any other source; it revolves around the mysteries therein which condemn the "titanic" elements that appear to lead to the discovery of a "Knowledge" or "Wisdom" related to Original sin. Thus, Ahab is a Promethean figure whose challenge of the demonic categorization of this area of imagery in the Bible is inextricably related to Job's challenge of God and subsequent invocation of Leviathan. In an application of Frye's theory of the patterns of ascent and descent imagery outlined in Anatomy of Criticism, The Secular Scripture, and Words With Power, chapters 1 & 2 examine the purely "demonic" descent of the quest hero and its "positive analogies" in the myth of Narcissus. Chapter 3 discusses the "titanic" descent quest in relation to its "presiding deity" Prometheus (Ahab), and chapter 4 briefly addresses the images of ascent surrounding Ishmael at the end of the novel. Notably, each chapter also examines the relation of the quest to patterns of Leviathan symbolism which are also represented in the image of the whale. Finally, the Conclusion reconsiders the Biblical Leviathan and Job's vision of "primal creation" which Frye points to in his verbal universe or axis mundi imagery. / Thesis / Master of Arts (MA)

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No description available.

L'étude présente est avant tout le résultat d'une préoccupation personnelle de longue durée, qui commence avec mes premières leçons de piano et mes tentatives de jouer la musique de Beethoven. Le désir de savoir autant que possible sur la personnalité, la vie, les événements et les situations qui ont conduit à la naissance d'une œuvre est apparu très tôt. Il est évident et simple à démontrer, par ses propres notes et les témoignages de ceux qui ont écrit sur lui depuis presque deux cents ans, que Beethoven a eu des circonstances extérieures, des événements et des occurrences sociales, même historiques, qui ont déclenché certains thèmes musicaux, auxquels son propre génie et sa sensibilité ont trouvé la forme d'expression qui nous est connue aujourd'hui. Ensuite, deuxièmement, il s'agit dans cette étude d'un engagement strictement théorique. Je souhaite exposer les liens formés le long des presque trois décennies de maladie, entre la déficience auditive et la création musicale de Beethoven. Au-delà de la situation de nature médicale qu'il a accueillie avec une explicable panique, avec un mélange d'impuissance et de dépression, qui l'ont mené au seuil du suicide, presque, environ l'année 1803, la perte de l'ouïe a ouvert un horizon agonique dans l'existence du compositeur, un horizon qui a marqué sa lutte avec le destin. Celui-ci est le thème, sa perception, qui le déterminera à assumer l'image et le rôle du Héros, du Titan tendu sous les épreuves sombres des machinations divines qu'il accueille avec courage et, des fois, même avec défi. C'est de ces tensions que jaillissent quelques-unes de ses œuvres les plus complexes, puissantes, expressives et novatrices, depuis la Symphonie no.3 et jusqu'à la 9ème, les sonates pour piano et certaines de ses compositions pour cordes. Le modèle héroïque a été sans doute salvateur, une circonstance d'émulation titanique qui a aidé Beethoven à mener si loin, dans le sens créatif, sa lourde et, en quelque sorte, ironique déficience. Il faut admettre, d'autre part, que, en dehors de ce modèle romantique de se rapporter au destin par le recours au Héros et au Titan - figures de la grandiose culture grecque classique - on a du mal à déceler la relation du compositeur avec Dieu dans le sens chrétien, sa manière d'intégrer une vision, un sens de la vie fondé sur celui-ci. Certes, Missa Solemnis en Ré majeur op.123, la Symphonie no.9 et quelques autres ouvrages ou parties d'ouvrages, entretiennent l'avis que Beethoven a composé, tout comme Bach, son modèle et maître favori, de la musique de glorification de Dieu. Et si cela est tout à fait vrai, alors notre mission de comprendre son passage par des modèles culturels et religieux si différents devient encore plus difficile. / This study is, above all, the outcome of a long-lasting personal concern that goes back to the period of my first music lessons and my attempts to play Beethoven's music on the piano. My passion for certain musical compositions, the care to interpret them in the way, with the sensitivity and in keeping with their creator's intentions might be translated as follows: 1 wish to perform as if he could hear me and could recognize himself in the music I performed. I was fi lied, at a very early age, with the desire to know as much as possible about his personality, his life, the events and the circumstances that led to the birth of his work. It is obvious and easy to prove, based on Beethoven's own notes and the testimonies of those who have written about him for nearly two hundred years, that there were external triggers, such as social and even historical events or happenings, which activated certain musical themes that his genius and sensitivity gave expression in the form known to us today. In this study, I will speak, at the appropriate time, about situations, contexts and events of this kind: family problems, like the affair involving his nephew Karl, or sentimental issues, like the "lmmortal Beloved" (Der Unsterbliche Geliebte), the drama entailed by hearing Joss, the evolution of event on the European stage during the Napoleonic and post­ Napoleonic periods, etc. Second, this study represents a strictly theoretical undertaking. I wish to present, according to my own understanding, the connections formed throughout the nearly three decades of disease between Beethoven's hearing impairment and his musical creation. Beyond the medical situation that he responded to with understandable panic, with a mixture of helplessness, tremor and depression, which brought him close to the brink of suicide in around the year 1803, the Joss of hearing opened an agonizing horizon in the composer's existence, a horizon against which he waged his battle with destiny. This is the theme, his perception, which led him to take on the image and role of a Hero, of a Titan, strained under the bleak attempts of the divine machinations that he met with courage and, sometimes, even with defiance. It was from these strains that some of his most complex, powerful, expressive and innovative works gushed forth, from his Third and Ninth Symphonies to the piano sonatas and several other compositions for strings. Beethoven was, according to Wagner's very suggestive comparison, the equivalent of Tiresias. Thus, shifting between levels of expression, he could hear pure music with an ear that was no longer disturbed or corrupted by outside sounds. The music he heard and transmitted gushed out of himself, from the depths of his being, which was marked by dignity and prophetic drama in equal measure. His internal hearing was already sensitive to the sounds of the World, to the rhythms of Phenomena, to the turmoil and syncopes of Life. Like Tiresias, Beethoven was a prophet who could hear, understand and transmit the mysterious music of the world to the future centuries. He could hear the music of paradise and convey it in the Pastoral Symphony, he could hear the sublime joy of human brotherhood and convey it at the end of the Ninth Symphony, he could hear the sounds of death and hell and convey them in the serious, funeral passages of the Eroica Symphony of the Hammerklavier Sonata. He could hear the ceaseless melody of life's flow through time, he could understand the sonata of nature, the dance of light, the verve of joy, but also the twilight, pain and night, the end. He could hear the music from which this universe of illusory, transient and capricious forms was made, this universe which we call reality. This, I believe, is the "Last" Beethoven.