No description available.

Cette recherche met en relation un travail de création artistique par le dessin et une réflexion sur le notion de transformation dans l'imaginaire taïwanais. Il s'agit de penser artistiquement les processus de reconstruction d'une identité, pendant la compréhension et l'adaptation à une culture différente. L'accent est mis sur le processus qui transforme des sentiments inhibés en expériences d'images. Ces images dont la composition peut rappeler les technique surréalistes ou de l'art fantastiques renvoient au rêve construit à partir d'un imaginaire vernaculaire propre à la culture Taïwanaise: rites familiaux, cérémonies collectives religionsyncrétique pour manifester ce choc et le décalage imaginaire. Le dessin peut montrer des images irréalistes, comme un rêve. Cette thèse entend comprendre comment cet imaginaireune fois formalisé par le dessin construit une identité tant artistique que culturelle / This research connects the creative artistic work of a drawing to reflections on the change in the Taiwanese imagination. It means to artistically think through the reconstruction process of an identity as it comprehends and adapts to another culture. The emphasis is placed on the way inhibited feeling are transformed into visual experiences. Using what could appear to be surrealist techniques or fantastic art, these images evoke dreams built on distinctive vernacular concepts found in the Taiwanese culture, as in family rituals, or collective syncretic religious ceremonies, to shock an highlight the differences. The illustration can depict unrealistic imaginings like in a dream. This thesis aims to explain how this imagination, once formalized by a drawing, shapes both artistic and cultural identity

Copyright problems emerging with development of the artificial intelligence Abstract Artificial intelligence is becoming increasingly present in every aspect of our lives which as a consequence creates many different challenges that the law needs to respond to. One of these challenges is the issue of copyright protection of artistic works created with the facilitation of artificial intelligence. Prior to this massive development of artificial intelligence, the authorship of artistic works has not been much of an issue, since computers have traditionally been considered as mere tools in the process of work creation and a person using this tool has been considered as the author. However, in the case of artistic works created with a certain degree of involvement of artificial intelligence, the creative contribution of its user can often be negligible, and as such arises a question whether these works should even be protected by copyright and if so, who should be the author. The primary objective of this thesis is to analyze current legislation regarding artistic works and the author of these works, to look at examples of contemporary artistic works made by artificial intelligence and whether such works may be, in certain conditions, considered as artistic works in the legal sense and if so, whether it is...

<p>Med den här uppsatsen vill jag belysa estetikämnenas roll och status i två grundskolor i en medelstor västsvensk stad. Jag vill även se i vilken mån de estetiska arbetsformerna praktiseras i skolornas vardag och i vilken mån lärarna anser sig ha nytta av styrdokumenten i detta arbete. För det här syftet har min metod blivit en enkätundersökning där pedagoger från de båda skolorna har fått besvara frågor kopplade till följande fyra estetiska arbetsformer: bild och form, drama, musik och dans. Resultaten redovisas utifrån tre kategorier: skola, ålder och yrkesgrupp. Vad som bland annat framkommit i undersökningen är att bilden är den arbetsform som tar upp mest tid och dansen den arbetsform som tar upp minst tid. Vidare ser man att skolorna planerar och förbereder estetiska arbetsformer mindre än 30 minuter i veckan eller inte alls samt undervisar generellt sett mindre än 60 minuter i veckan i dessa arbetsformer. Dessutom framgår det att pedagogerna anser sig ha endast viss eller mycket liten nytta av central och lokala styrdokument när de skall planera lektioner inom de estetiska arbetsformerna.</p> / <p>The aim of this composition is to enlighten the role and status of the artistic work forms in two compulsory schools in an average town in the western part of Sweden. I would also like to see to what degree the artistic work forms practises in the average school day. For this object, my method has become a questionnaire investigation where the educating staff from each school has answered questions connected to these four artistic work forms; art, drama, music and dance. The results is presented thru three categories; School, age and work category. A part that has been presented from the investigation is that the art form is the one that takes up most of the time and dance the one that takes least of the time. Furthermore can one see that the schools plans and prepare less then 30 minutes a week or no time at all and educate generally seen less then 60 minutes a week in artistic work forms. It also shows that the educators only have some or little use of the steering documents when they plan the lessons within the artistic work forms.</p>

Med den här uppsatsen vill jag belysa estetikämnenas roll och status i två grundskolor i en medelstor västsvensk stad. Jag vill även se i vilken mån de estetiska arbetsformerna praktiseras i skolornas vardag och i vilken mån lärarna anser sig ha nytta av styrdokumenten i detta arbete. För det här syftet har min metod blivit en enkätundersökning där pedagoger från de båda skolorna har fått besvara frågor kopplade till följande fyra estetiska arbetsformer: bild och form, drama, musik och dans. Resultaten redovisas utifrån tre kategorier: skola, ålder och yrkesgrupp. Vad som bland annat framkommit i undersökningen är att bilden är den arbetsform som tar upp mest tid och dansen den arbetsform som tar upp minst tid. Vidare ser man att skolorna planerar och förbereder estetiska arbetsformer mindre än 30 minuter i veckan eller inte alls samt undervisar generellt sett mindre än 60 minuter i veckan i dessa arbetsformer. Dessutom framgår det att pedagogerna anser sig ha endast viss eller mycket liten nytta av central och lokala styrdokument när de skall planera lektioner inom de estetiska arbetsformerna. / The aim of this composition is to enlighten the role and status of the artistic work forms in two compulsory schools in an average town in the western part of Sweden. I would also like to see to what degree the artistic work forms practises in the average school day. For this object, my method has become a questionnaire investigation where the educating staff from each school has answered questions connected to these four artistic work forms; art, drama, music and dance. The results is presented thru three categories; School, age and work category. A part that has been presented from the investigation is that the art form is the one that takes up most of the time and dance the one that takes least of the time. Furthermore can one see that the schools plans and prepare less then 30 minutes a week or no time at all and educate generally seen less then 60 minutes a week in artistic work forms. It also shows that the educators only have some or little use of the steering documents when they plan the lessons within the artistic work forms.

This study explores nature as a source of inspiration in Zulu poetry. With the exception of the introductory and concluding chapters all chapters are structurally similar. Each chapter consists of an introduction, communication of meaning, elements of poetry employed to communicate meaning, types of poems and observations and conclusion. Chapter 1 deals with the aim of the study, definition of terms, motivation, delimitation of scope of study and research methodology. Chapter 2 discuses poetry of the period between 1935 and 1945. Chapter 3 looks at poetry of the period between 1946 and 1955. Chapter 4 deals with poetry of the period between 1956 and 1965. Chapter 5 investigates poetry of the period between 1966 and 1975. Chapter 6 focuses on observations and conclusion. / African Languages / MA (African Languages)

This study explores nature as a source of inspiration in Zulu poetry. With the exception of the introductory and concluding chapters all chapters are structurally similar. Each chapter consists of an introduction, communication of meaning, elements of poetry employed to communicate meaning, types of poems and observations and conclusion. Chapter 1 deals with the aim of the study, definition of terms, motivation, delimitation of scope of study and research methodology. Chapter 2 discuses poetry of the period between 1935 and 1945. Chapter 3 looks at poetry of the period between 1946 and 1955. Chapter 4 deals with poetry of the period between 1956 and 1965. Chapter 5 investigates poetry of the period between 1966 and 1975. Chapter 6 focuses on observations and conclusion. / African Languages / MA (African Languages)

O presente trabalho faz uma análise, sob o aspecto do direito internacional e do direito brasileiro, do instituto do contributo mínimo em direito de autor, a qual pouquíssima atenção foi dada pela doutrina e jurisprudência brasileiras. Trata-se da análise do mínimo grau criativo que uma criação deve possuir para ensejar proteção por direito de autor esse é o sentido que damos à expressão contributo mínimo.Devido ao caráter internacional do direito de autor, fazemos a análise sob esse aspecto, passando por um pouco da história em âmbito global e tratando de que modo esse instituto é previsto e assegurado através do direito internacional público e do direito internacional privado. Como o tema é ainda novo no Brasil, fazemos observações de ordem terminológica, diferenciando o instituto do contributo mínimo de demais institutos do direito de autor. Durante todo o trabalho são feitas diversas menções e citações a doutrina, jurisprudência e normas estrangeiras, com objetivo de analisar da forma mais ampla possível o modo como tem sido tratado e discutido esse instituto.Por fim, são apresentados problemas clássicos e muitos práticos em matéria de direito de autor, tais como (i) definição de obra protegida, (ii) delineamento de requisitos para proteção aquisição de proteção por direito de autor, (iii) questões envolvendo plágio e obras derivadas e (iv) balanceamento justificador entre o exclusivo do direito de autor e os todas as formas de direito de acesso às criações. Em todas essas questões, são apresentadas as formas em que o contributo mínimo está presente e como é dada sua influência e contribuição para resolução das mesmas. / In the present work we make an international analysis of international law and Brazilian law about the minimum contribute, a requirement for copyright and authors rights protection that almost all the time has the same meaning as the originality requirement. Since the word originality not always mean the minimum degree of creativity that a creation must to bear in order to gain copyright or authors right protection, we preferred to use here, with this connotation, the expression minimum contribute. This subject still has not received much attention from Brazilian commentators and case law, in spite of its importance.The analysis focuses on the international dimension of this subject in attention to the copyrights / authors rights international character. We start with a little bit of history on the global dimension and then present the way the minimum contribute is found and guaranteed on public international law and on private international law. Thus, since the minimum contribute study is still new on Brazil, we make some terminology distinction between this expression and its meaning from other often apparent similar meaning terms and expressions on copyright. During all the work we present a lot of information and make quotation on foreign commentators, case laws and laws, in pursue of analyzing, in the broadest way possible, how the minimum contribute has been treated and discussed.Finally, we present typical and practical matters on copyright, like (i) definition of protected work, (ii) delineation of copyright requirements, (iii) plagiarism, (iv) derivative works and (v) copyright central balance. When we talk about each one of these matters, we also analyze how the minimum contribute appears and how it can influence and make contribution in finding solutions to them.

O presente trabalho faz uma análise, sob o aspecto do direito internacional e do direito brasileiro, do instituto do contributo mínimo em direito de autor, a qual pouquíssima atenção foi dada pela doutrina e jurisprudência brasileiras. Trata-se da análise do mínimo grau criativo que uma criação deve possuir para ensejar proteção por direito de autor esse é o sentido que damos à expressão contributo mínimo.Devido ao caráter internacional do direito de autor, fazemos a análise sob esse aspecto, passando por um pouco da história em âmbito global e tratando de que modo esse instituto é previsto e assegurado através do direito internacional público e do direito internacional privado. Como o tema é ainda novo no Brasil, fazemos observações de ordem terminológica, diferenciando o instituto do contributo mínimo de demais institutos do direito de autor. Durante todo o trabalho são feitas diversas menções e citações a doutrina, jurisprudência e normas estrangeiras, com objetivo de analisar da forma mais ampla possível o modo como tem sido tratado e discutido esse instituto.Por fim, são apresentados problemas clássicos e muitos práticos em matéria de direito de autor, tais como (i) definição de obra protegida, (ii) delineamento de requisitos para proteção aquisição de proteção por direito de autor, (iii) questões envolvendo plágio e obras derivadas e (iv) balanceamento justificador entre o exclusivo do direito de autor e os todas as formas de direito de acesso às criações. Em todas essas questões, são apresentadas as formas em que o contributo mínimo está presente e como é dada sua influência e contribuição para resolução das mesmas. / In the present work we make an international analysis of international law and Brazilian law about the minimum contribute, a requirement for copyright and authors rights protection that almost all the time has the same meaning as the originality requirement. Since the word originality not always mean the minimum degree of creativity that a creation must to bear in order to gain copyright or authors right protection, we preferred to use here, with this connotation, the expression minimum contribute. This subject still has not received much attention from Brazilian commentators and case law, in spite of its importance.The analysis focuses on the international dimension of this subject in attention to the copyrights / authors rights international character. We start with a little bit of history on the global dimension and then present the way the minimum contribute is found and guaranteed on public international law and on private international law. Thus, since the minimum contribute study is still new on Brazil, we make some terminology distinction between this expression and its meaning from other often apparent similar meaning terms and expressions on copyright. During all the work we present a lot of information and make quotation on foreign commentators, case laws and laws, in pursue of analyzing, in the broadest way possible, how the minimum contribute has been treated and discussed.Finally, we present typical and practical matters on copyright, like (i) definition of protected work, (ii) delineation of copyright requirements, (iii) plagiarism, (iv) derivative works and (v) copyright central balance. When we talk about each one of these matters, we also analyze how the minimum contribute appears and how it can influence and make contribution in finding solutions to them.

No description available.