Malgré l’engouement pour les neurosciences cognitives des émotions et les nombreuses publications des dernières décennies tentant d’élucider les bases neurobiologiques des émotions, nos connaissances sur le domaine restent embryonnaires. Plusieurs questions importantes restent toujours sans réponses incluant s’il existe ou non un système unique pour le traitement de stimuli émotionnels et s’il y a ou non des différences entre les hommes et les femmes pour le traitement de stimuli émotionnels. L’objectif de cette thèse est d’apporter certains éléments de réponses à ces questions à travers une caractérisation du substrat neurobiologique impliqué dans le traitement de stimuli émotionnels visuels et dynamiques. Ce travail a été mené via l’imagerie par résonance magnétique fonctionnelle (IRMf) cérébrale. Le premier chapitre, subdivisé en quatre sections, permet de présenter la perspective dans laquelle s’inscrit la thèse. La première section de ce chapitre sert à établir certaines balises définitionnelles liées aux émotions. La seconde section, basée sur une lecture des textes originaux, retrace les faits historiques saillants de la neurobiologie des émotions allant de Charles Darwin à Joseph Ledoux. La troisième section débute où la seconde s’arrête et continue l’histoire de la neurobiologie des émotions à travers un résumé de toutes les principales méta-analyses d’imagerie fonctionnelle cérébrale des émotions. La dernière section du chapitre permet de présenter la problématique de recherche. La recherche, à proprement parler, qui constitue le corps de la thèse est ensuite présentée sous forme de trois articles. Enfin, les résultats de cette recherche et la manière dont ils s’inscrivent dans la continuité de nos connaissances actuelles font l’objet d’une discussion générale. Le premier article (chapitre II) rapporte, chez les hommes et les femmes, les régions du cerveau qui sont plus activées lors du traitement de films érotiques que lors du traitement de films dits ‘neutres’. Un chevauchement manifeste est observé entre les hommes et les femmes. Par contre, une activation significativement plus grande est observée chez les hommes pour l’hypothalamus, une région importante pour le comportement sexuel à travers la phylogénie. De plus, chez les hommes seulement, l’activation hypothalamique est corrélée à l’excitation sexuelle subjective. Comme la recherche présentée dans le premier article se sert de conditions expérimentales relativement longues pour l’IRMf (i.e. extraits de films de 3 minutes) et que ceci peut induire une nette diminution de signal en lien avec certaines contraintes de l’IRMf, le second article (chapitre III) examine les corrélats du traitement de stimuli sexuels en utilisant, cette fois, un paradigme d’IRMf classique où plusieurs extraits de films de 33 secondes sont présentés à la place. Cette étude démontre que, pour le traitement de stimuli sexuels, ce paradigme classique d’IRMf est beaucoup plus sensible que celui du premier article. De plus, comme ce paradigme mène à une reproduction des résultats du premier papier, ce travail soutient la perspective selon laquelle les paradigmes à époques courtes sont une alternative valide aux longues époques comme méthode d’étude du traitement de stimuli émotionnels. Le troisième article (chapitre IV) capitalise sur le protocole du second article et démontre que les patrons d’activation associés au visionnement de courts extraits de films induisant du dégoût, de l’amusement, ou de l’excitation sexuelle, sont très étendus. Une analyse de conjonction formelle démontre un large chevauchent de ces patrons à travers les différents affects étudiés. Enfin, le cinquième chapitre sert de discussion générale. Les questions des différences entre les hommes et les femmes dans le traitement des émotions, de l’existence ou non d’un système général pour le traitement des émotions, ainsi que de la manière dont un tel système pourrait être conçu, sont des points saillants de la discussion. Ces points sont abordés à la lumières des connaissances actuelles et des résultats des trois articles. / Despite the intense interest garnered by cognitive neurosciences of emotions and the numerous publications in recent decades attempting to partial the neurobiological basis of emotions, our knowledge of the area remains embryonic. Important questions that need to be answered include whether or not there exists a general system for processing emotional stimuli and whether or not there are differences between men and women in processing emotional stimuli. The main objective of this dissertation is to provide some answers to these questions by characterizing the neurobiological substrate involved in processing dynamic visual emotional stimuli. This work was conducted through cerebral functional magnetic resonance imaging (fMRI). The first chapter, which is divided into four sections, lays the groundwork for the thesis. The first section of this chapter serves to clarify some definitional background related to emotions. The second section, based on a reading of the original texts, traces the salient historical facts of the neurobiology of emotions from Charles Darwin to Joseph Ledoux. The third section begins where the second ends and continues the history of the neurobiology of emotions through a summary of all the main functional brain imaging meta-analyzes of emotions. The final section of the chapter introduces the research problematic. The research itself, which constitutes the body of the dissertation, is then presented in the form of three articles. Finally, results of this research and how they fit into the continuity of our current knowledge form the basis of a general discussion. The first paper (Chapter II) reports, in men and women, the brain regions that are more activated during the processing of erotic film excerpts than during the processing of so-called 'neutral' film excerpts. A clear overlap is observed between men and women. This being said, a significantly greater activation is observed in men for the hypothalamus, a region important for sexual behavior across the phylogeny. In addition, in men only, hypothalamic activation is correlated with reported sexual arousal. As the research presented in the first paper uses relatively long experimental conditions for fMRI (i.e. 3-minute film excerpts) and as this can lead to a net signal decrease due to certain fMRI constraints, the second paper (Chapter III) examines correlates of processing sexual stimuli using, this time, a classic fMRI paradigm where several short film clips of 33 seconds are used instead. This study shows that, for the processing of sexual stimuli, this conventional fMRI paradigm is much more sensitive than the one used in the first paper. Importantly, given that this paradigm leads to a reproduction of results of the first paper, this work supports the view that short epochs are a valid alternative to long epochs as a method of studying the processing of emotional stimuli. The third section (Chapter IV) capitalizes on the protocol of the second paper and demonstrates that the activation patterns associated with the viewing of short film excerpts inducing disgust, amusement, or sexual arousal, are extensive. A formal conjunction analysis shows a broad overlap of these patterns across the various affects studied. Finally, the fifth chapter provides a general discussion of the results. The question of gender differences in processing emotional stimuli, of whether or not a general system for processing emotions exists, and of how it may be understood, represent important elements of the discussion. These points are discussed in light of current knowledge and of the results of the three papers.

This paper discuses three different freakshow-attractions at the amusement park Gröna Lund in Stockholm during the 20th century; two tribes from the African continent, the exhibit of people with dwarfism and all female striptease. These attractions have been examined with international and intersectional perspective aswell as their effect on the possible heritage status of the amusement park Gröna Lund and their part in creating a so-called dissonant heritage. The thesis does not examine individual freaks or the amusement often refereed to as burlesque that also was an important part of the amusement park Gröna Lund. By studying the amusement park Gröna Lund’s company archive at the Centre for business history in Stockholm I found the main source material for this thesis. This material consisted of pictures, commercial flyers given out at exhibitions, advertising banners and articles from various Swedish newspapers. The material has then been exposed to both textual and image analysis. The result is that the human attractions at Gröna Lund can, and should, be seen as a part of an international freakshow market - although influenced by social and political trends and institutions. I also argue that the amusement park, and the human attractions are a part of a dissonant heritage, a more intersectional Swedish heritage. This is a two years master’s thesis in Archive, Library and Museum studies.

本論文試圖設計一套讀者如何理解（強納生•史威夫特的）《一個謙遜提議》為諷刺文的認知過程。此認知過程包含兩個步驟：（A）推論出作者是諷刺的，（B）推論出作者意圖諷刺某真人。本論文分三部分來處理（A）與（B）。 第一部分（第2至5章）處理（A），而（A）又可細分為：（a）判斷《謙遜提議》似乎為錯，（b）推論出作者意圖它為錯，（c）推論出作者意圖讀者發現它為錯。然而，（a）阻礙了（b）與接下來的（c），因為《謙遜提議》在讀者眼中是似乎為錯，而非應該為錯。因此，讀者有困難去最終詮釋《謙遜提議》為一諷刺文。然而，當讀者閱畢《謙遜提議》後若能感到極度被娛樂（feels extremely amused），他將比較容易有（b）與（c）的反應，因為他會推論出作者在開玩笑。 第二部分（第6至7章）試圖設計一個娛樂（amusement）的認知理論與一個幽默（humor）的認知理論。我定義「娛樂」為一種情緒，成因是一個人在認知上評價「幽默」為愉悅的。而我定義「幽默」基本上是對失諧（incongruity）的反應。幽默可以是：（1）知覺到失諧；（2）知覺到失諧，並解困之；或（3）知覺到失諧，並求甚解地解困之。 第三部分（第8章）則處理由（A）到（B）的認知過程。讀者於此階段理解到《謙遜提議》裡的虛構第一人稱是一個隱喻，隱喻對象為某個針對愛爾蘭問題提出殘暴荒謬解決辦法的真實權貴。 終其此論文，我試圖拆解作者的《謙遜提議》（為一諷刺文），並藉由讀者的各種可能詮釋（《謙遜提議》是一個好計畫、偽善謊言等等）來重組之。有時，作者已死，而其身分不可辨認。於論文結論，我將運用此（對《謙遜提議》的）詮釋不穩定性，來解釋針對2004年台灣319（槍擊）案反應的意見分歧。 / This thesis aims to design a cognitive process of how the reader comprehends Jonathan Swift’s “A Modest Proposal” as a satire. This cognitive process includes two steps: (A) to infer that the author is satirical, (B) to infer that the author intends to satirize some real person. This thesis is cut into three parts to tackle (A) and (B). The first part (Chapters 2-5) is on (A), and (A) is subdivided into: (a) to judge that AMP1 seems to be false, (b) to infer that the author intends it to be false, (c) to infer that the author intends the reader to find it false. However, (a) impedes (b) and the sequential (c), because AMP is seemingly false, not normatively false, in the eyes of the reader. The reader thus has the difficulty to eventually interpret AMP as a satire. However, when the reader feels extremely amused after reading AMP, he will more easily fulfill (b) and (c), because he will infer that the author is joking. The second part (Chapters 6-7) aims to design a cognitive theory of amusement and that of humor. I define amusement as an emotion, caused by the cognitive appraisal of the humor as pleasant. And I define humor as basically a reaction to incongruity. Humor can be: (1) the perception of incongruity, (2) the perception of incongruity and its resolution, or (3) the perception of incongruity and its resolution with comprehension. The third part (Chapter 8) is on the cognitive process from (A) to (B). The reader in this stage comprehends that the fictional speaker in AMP is a metaphor of some bigwig in reality who proposes an outrageous solution to the Irish problems. Throughout this thesis, I try to demolish the author’s AMP (that it is a satire) and restructure it with the reader’s interpretations (that AMP is a good plan, a hypocritical lie, etc.). Sometimes, the author is dead and his identity is unrecognizable. At the end, I will apply this interpretative instability (to AMP) to the dissension over the Taiwan 319 (gunshot) incident in 2004. ------------ 1 Herein Jonathan Swift’s “A Modest Proposal” will be referred to as AMP.

This study seeks to find the impact of theming on the willingness to pay of con- sumers for amusement parks. Guests of Finnish amusement park Särkänniemi were asked about their preference for themed attractions and about the price they were willing to pay per ride by means of a questionnaire. Variables concerning both the stated as well as the revealed preference for theming, immersive experience, and previous visits to the park were tested in relation to the willingness to pay for amusement parks. Not all these variables have shown to play an important role; however the variable concerning the revealed preference did have a very strong significance on the willingness to pay in the proposed model. In conclusion the study suggests that the willingness to pay for an attraction is positively influenced by theming because people, as it turns out, are willing to pay more for an attraction when it is themed.

<p>This study seeks to find the impact of theming on the willingness to pay of con- sumers for amusement parks. Guests of Finnish amusement park Särkänniemi were asked about their preference for themed attractions and about the price they were willing to pay per ride by means of a questionnaire. Variables concerning both the stated as well as the revealed preference for theming, immersive experience, and previous visits to the park were tested in relation to the willingness to pay for amusement parks. Not all these variables have shown to play an important role; however the variable concerning the revealed preference did have a very strong significance on the willingness to pay in the proposed model. In conclusion the study suggests that the willingness to pay for an attraction is positively influenced by theming because people, as it turns out, are willing to pay more for an attraction when it is themed.</p>

published_or_final_version / Environmental Management / Master / Master of Science in Environmental Management

published_or_final_version / Politics and Public Administration / Master / Master of Public Administration

published_or_final_version / Public Administration / Master / Master of Public Administration

Amusement space embodies hegemonic and Utopian dialogue concerning urban conditions. Throughout the twentieth century, two rival urban visions have reigned: the Coney Island model, a chancy, participatory theatre where patrons can confront head-on current conditions; and the Disney model, a carefully planned setting where guests are made to feel comfortable and secure. The current ascendancy of the Disney model, evident in urban and suburban landscapes increasingly shaped in the Disney image, has attracted the attention -- and alarm --of critics who interpret this trend as urban planning with a 'sinister twist.' A case study of Disney's involvement with Seattle Center, originally the site of the 1962 World's Fair and now Seattle's premier urban park, demonstrates, however, that people actively challenge, negotiate, and reform the Disney model to meet their needs by infusing the space with traces of the rival Coney model. The suggestions Disney made for renovation of Seattle Center sparked a city-wide debate that centred on the roles of local participation, cultural sensitivity, and aesthetic design in urban space; Disney was found lacking on all accounts and eventually rejected entirely. Seattle's experience with Disney demonstrates that amusement space offers a rich terrain upon which people can dream about, and implement, urban change.

Report (M.S.)--Virginia Polytechnic Institute and State University, 1994. / Abstract. Includes bibliographical references (leaves 173-175). Also available via the Internet.