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Le premier néolithique de la Méditerranée occidentale est représenté par un ensemble d'expressions culturelles polymorphes qui se sont développées au cours du VIème millénaire AEC et qui sont définies traditionnellement par la présence de céramiques imprimées. En traçant la variabilité morphologique et décorative des productions céramiques, on peut suivre les dynamiques de diffusion du Néolithique selon un modèle de progression arythmique, d’est en ouest, caractérisée par un renouvellement continu des composantes technoculturelles.Dans ce cadre, à partir du début du VIème millénaire AEC, la Ligurie se révèle comme un espace particulièrement représentatif des transformations sociales et culturelles en jeu et constitue donc un domaine privilégié pour la compréhension des mécanismes de diffusion néolithique en Méditerranée nord-occidentale. Cette recherche s’est focalisée sur l'analyse technologique de la production céramique pour décoder les systèmes techno-économiques des groupes néolithiques, à travers une étude structurée sur deux niveaux progressifs et complémentaires, du site à l'échelle régionale.Les récentes fouilles effectuées aux Arene Candide (1997-2012) ont documenté en détail une séquence stratigraphique relative aux premières phases du Néolithique et ont fourni de nouvelles et cohérentes données contextuelles. La lecture technologique de l’assemblage céramique issu de ces recherches a permis de reconstruire le système de production céramique en relation avec l’articulation stratigraphique et chronologique, en mettant en évidence une évolution des comportements techniques et stylistiques au cours du VIème millénaire AEC. On a pu ainsi élaborer un modèle de périodisation, fondé sur des marqueurs techno-stylistiques spécifiques des différents horizons chrono-culturels. Ce modèle a été ensuite appliqué dans le cadre d’une révision systématique des céramiques provenant des sites contemporains, répartis entre la région de Finale et le Val Pennavaira, souvent très peu considérées parce que provenant généralement de contextes jugés peu fiables. Cette approche a permis de clarifier l'attribution chronologique et culturelle de ces séries céramiques, en fournissant des éléments pour une reconstruction diachronique des dynamiques de peuplement, et pour l'organisation et la gestion du territoire au cours du VIème millénaire AEC. Ces résultats ont alimenté le débat sur les interactions culturelles dans le bassin occidental de la Méditerranée. / The early Neolithic of the western Mediterranean is represented by a polymorphic set of cultural expressions, traditionally defined by the presence of impressed wares, that developed during the sixth millennium BCE. By tracing the morphological and decorative variability of these ceramic productions, it was possible to outline a model of arrhythmic progression of the Neolithic package diffusion, from east to west, characterized by a continuous renewal of its techno-cultural components. Within this context, from the beginning of the sixth millennium BCE, Liguria is a particularly representative space of the social and cultural transformations that took place in the western Mediterranean and represents a privileged area for the untangling of the mechanisms of Neolithic diffusion in this area. This research focused on the technological analysis of ceramic production in order to decode the techno-economic systems of the Neolithic groups, through an integrated study, which was structured in two progressive and complementary levels, from infra-site to a regional scale.Recent excavations at the Arene Candide cave (1997-2012) documented in detail a clear stratigraphic sequence related to the early Neolithic phases, providing new and consistent proxy data. The technological analysis of the ceramic assemblage resulting from these researches allowed for the reconstruction of the pottery production system in relation to the stratigraphic and chronological articulation, highlighting an evolution of technical and stylistic behaviours during the sixth millennium BCE. This led to the elaboration of a diachronic model, articulated in different chrono-cultural horizons, each characterized by specific techno-stylistic markers. The systematic revision of the pottery from the contemporary sites of the region, mainly distributed between the Finalese region and Val Pennavaira, and often neglected due to their absent or unreliable contextual documentation, was also implemented. This revision allowed for the clarification of the chronological and cultural attribution of these ceramic sets, providing new elements for a diachronic reconstruction of settlement dynamics, as well as of the organization and management of the territory during the sixth millennium BCE, and finally revealed cultural interactions with the western Mediterranean basin.In general, the results obtained by this study increase, both quantitatively and qualitatively, the data relating to the early Neolithic stages of the region, unlocking the informative potential of a holistic approach to the analysis of the ceramic document, even when applied to remarkably fragmentary materials. These new results contribute to the ongoing debate on the complex phenomenon of the neolithization of the western Mediterranean.

Den här uppsatsen undersöker hur Voltaires idéroman Candide och ett urval av romanens motiv kan analyseras och kopplas till en nutida samhällsdiskurs. Den ger även förslag på hur verket, mot bakgrund av en didaktisk diskussion, kan användas i undervisningssammanhang. Uppsatsen behandlar Voltaire och hans kritiska förhållande till Leibniz optimistiska och deterministiska världsåskådning. Här orienteras läsaren i den filosofiska motsättning som ligger till grund för verkets kärna: Voltaires polemik mot en okritisk acceptans av tesen Vi lever i den bästa av världar. Uppsatsen siktar på att levandegöra verkets tema optimismen och ett tänkbart huvudmotiv: människans utsatthet (i tillvaron), genom att koppla detta till dagsaktuella och till synes seglivade fenomen, t.ex. religiöst och militärt maktmissbruk, och social och sexuell exploatering av kvinnan. Uppsatsen demonstrerar bl.a. att ohyggliga krigsbrott i Kongo och Bosnien tangerar Candides upplevelser på de nordeuropeiska slagfälten; att sexuella övergrepp i religiösa kontexter inte är isolerade till historien, utan fortlever bland annat via katolska kyrkans företrädare; att det faktiskt finns beröringspunkter i ståndstanken bakom Kunigundas giftermålsplaner och kronprinssessan Victorias bröllop. Uppsatsen utmynnar i en litteraturdidaktisk diskussion som, med stöd av ledande forskare och pedagoger, resonerar kring hur man i praktiken kan arbeta med litteraturanalys i gymnasieskolan. Texten avrundas med explicita redovisningsförslag kopplade till tema och motiv i Candide.

Cette thèse se propose d’examiner le concept de « livre augmenté » à partir d’une posture théorique articulée à une pratique de médiateur et d’éditeur multimédia exercée à la Bibliothèque nationale de France (BnF) pendant une vingtaine d’années. Notre recherche pose la question de la reconfiguration du livre dans l’espace numérique à travers les notions de remédiatisation et d’éditorialisation, c’est-à-dire du point de vue de l’évolution des formes médiatiques et des pratiques éditoriales. La conception de deux prototypes — le livre-application Candide réalisé à la BnF et le livre-web Odyssée réalisé à l’Université Paris-VIII — nous a permis d’interroger les frontières du livre et de formuler les concepts d’enrichissement et d’augmentation au regard de la clôture du livre. Nous défendons la thèse d’un objet-livre numérique nécessairement clos, enrichi par l’éditeur et le lecteur, augmenté par des extensions virtuelles sur le web ou en applications. L’expérience de lecture et la transmission des œuvres s’y trouvent renouvelées par des pratiques intermédiatiques et une nouvelle sensorialité des supports numériques. / This thesis proposes to examine the concept of "enhanced book" from a theoretical posture articulated to a practice of mediator and multimedia editor exercised at the French National Library (BnF) during twenty years. Our research raises the question of the reconfiguration of the book in the digital environment through the notions of remediation and editorialization, that is to say, from the point of view of the media forms and editorial practices evolution. The design of two prototypes — the Candide app-book carried out at the BnF and the Odyssey web-book conducted at the University of Paris VIII — enabled us to examine the boundaries of the book and formulate the concepts of enrichment and enhancement regarding to the enclosure of the book. We defend the thesis of a digital object-book necessarily closed, enriched by the editor and the reader, enhanced by virtual extensions on the web or in applications. The experience of reading and transmitting the works are renewed by intermediate practices and a new sensoriality of digital media.

<p>This thesis aims at building a system capable of automatically extracting and parameterizing the position of a face and its features in images acquired from a low-end monocular camera. Such a challenging task is justified by the importance and variety of its possible applications, ranging from face and expression recognition to animation of virtual characters using video depicting real actors. The implementation includes the construction of Active Appearance Models of the human face from training images. The existing face model Candide-3 is used as a starting point, making the translation of the tracking parameters to standard MPEG-4 Facial Animation Parameters easy.</p><p>The Inverse Compositional Algorithm is employed to adapt the models to new images, working on a subspace where the appearance is "projected out" and thus focusing only on shape.</p><p>The algorithm is tested on a generic model, aiming at tracking different people’s faces, and on a specific model, considering one person only. In the former case, the need for improvements in the robustness of the system is highlighted. By contrast, the latter case gives good results regarding both quality and speed, with real time performance being a feasible goal for future developments.</p>

<p>A face tracker is exactly what it sounds like. It tracks a face in a video sequence. Depending on the complexity of the tracker, it could track the face as a rigid object or as a complete deformable face model with face expressions.</p><p>This report is based on the work of a real time feature based face tracker. Feature based means that you track certain features in the face, like points with special characteristics. It might be a mouth or eye corner, but theoretically it could be any point. For this tracker, the latter is of interest. Its task is to extract global parameters, i.e. rotation and translation, as well as dynamic facial parameters (expressions) for each frame. It tracks feature points using motion between frames and a textured face model (Candide). It then uses an extended Kalman filter to estimate the parameters from the tracked feature points.</p>

Thesis--Münster. / Bibliography: p. 98-103.

Esta dissertação intenta contribuir para os estudos sobre o filme Candinho (1954), do diretor paulista Abílio Pereira de Almeida (1906-1977), investigando com maior profundidade seu processo de adaptação do conto Candide ou loptimisme (1759), do escritor francês Voltaire (1694-1778). Esta pesquisa considera que a adaptação do texto literário para o cinema se constitui numa leitura ativa e particular do diretor, a qual se materializa em sua obra. As análises desenvolvidas nesta dissertação apontam a importância, para a compreensão e a interpretação de Candinho, da articulação entre o diálogo estabelecido com a matriz literária francesa; a vinculação do filme à proposta estética da Cia. Cinematográfica Vera Cruz (1949-1954) e o tratamento da temática da decadência da oligarquia cafeeira e da metropolização de São Paulo no conjunto da obra teatral e cinematográfica abiliana. / This dissertation aims at contributing to the studies about the movie Candinho (1954), from the director Abílio Pereira de Almeida (1906-1977), native of São Paulo, inquiring deeper into his process of adaptation of the short story Candide ou loptmisme (1759), from the French writer Voltaire (1694-1778). The research considers that the adaptation of the literary text to the cinema constitutes itself in an active and particular reading of the director, which is materialized in his work. The developed analyses have pointed out the importance, for the comprehension and interpreting of Candinho, the articulation between the dialogue established with the French literary reference; the movie entailment to the aesthetic proposal of Cia. Cinematográfica Vera Cruz (1949-1954), and the treatment of the set of themes on the coffee oligarchy decadence and the metropolization of São Paulo in the set of the theatrical and cinematographic work created by Abílio.

Esta dissertação intenta contribuir para os estudos sobre o filme Candinho (1954), do diretor paulista Abílio Pereira de Almeida (1906-1977), investigando com maior profundidade seu processo de adaptação do conto Candide ou loptimisme (1759), do escritor francês Voltaire (1694-1778). Esta pesquisa considera que a adaptação do texto literário para o cinema se constitui numa leitura ativa e particular do diretor, a qual se materializa em sua obra. As análises desenvolvidas nesta dissertação apontam a importância, para a compreensão e a interpretação de Candinho, da articulação entre o diálogo estabelecido com a matriz literária francesa; a vinculação do filme à proposta estética da Cia. Cinematográfica Vera Cruz (1949-1954) e o tratamento da temática da decadência da oligarquia cafeeira e da metropolização de São Paulo no conjunto da obra teatral e cinematográfica abiliana. / This dissertation aims at contributing to the studies about the movie Candinho (1954), from the director Abílio Pereira de Almeida (1906-1977), native of São Paulo, inquiring deeper into his process of adaptation of the short story Candide ou loptmisme (1759), from the French writer Voltaire (1694-1778). The research considers that the adaptation of the literary text to the cinema constitutes itself in an active and particular reading of the director, which is materialized in his work. The developed analyses have pointed out the importance, for the comprehension and interpreting of Candinho, the articulation between the dialogue established with the French literary reference; the movie entailment to the aesthetic proposal of Cia. Cinematográfica Vera Cruz (1949-1954), and the treatment of the set of themes on the coffee oligarchy decadence and the metropolization of São Paulo in the set of the theatrical and cinematographic work created by Abílio.