No description available.

Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform. / The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.

No description available.

The problem with which this investigation is concerned is that of determining the relative effectiveness of the Christensen Rhetoric Program and of a traditional write-revise approach in freshman English composition classes.

This dissertation investigates different sorts of repetition in the text ”Watersteps” and the four central lyrical works of the Danish poet Inger Christensen (1935–2009), it, Letter in April, alphabet and Butterfly Valley. The poems are analysed through close reading against a backdrop of the philosophical investigations of repetition by Søren Kierkegaard, Gilles Deleuze and Jacques Derrida as well as the phenomenology of Maurice Merleau-Ponty and the lifeworld philosophy of the late Edmund Husserl and Martin Heidegger. Inger Christensen is known for constructing different systems as framework for her texts. Repetition is a dominant element in these systems, and in her texts repetition is pervading  in her prose as well as in her poetry. The repetitions have important functions structuring the texts and creating new meanings. Using a term of Novalis you could say that they function as tools of a writer who is ”inspired by language” (”ein Sprachbrgeisterter”). The repetitions are literal (or just slightly changed) and thematical. They are nearly always not just a repetition of a former expression or theme. The investigation shows that something new is produced in the process of repeating. While repetition pushes expressions and themes forward in the texts, the signification and meaning of these are changed at the same time. The process often includes displacement and condensation supplying the text with never ending possibilities of creating new relations and new meanings. The combination of system, repetition, and the meaning of the text shows the relationship between subject, world and language. They are independent phenomena at the same time as they are deeply involved in each other. The constant interaction and the tension between them are demonstrated in the texts both formally and semantically. Reality is suspended between them in eternal mobility; identity becomes relative. The living subject is defining and redefining itself by being part of the world mediated to it through language, and these two are in turn constantly redefined in the process of repetition. In this way the subject, and certainly the poet subject, is always expressing the world or, in reversed order, the world expresses itself through the subject.

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2006. / Includes bibliographical references (leaves 88-91). Also available in electronic version.

Thesis (M.S.)--Humboldt State University, 2007. / Includes bibliographical references (leaves 26-30). Also available via Humboldt Digital Scholar.

Depuis toujours, j’entendais la mer d’Andrée Christensen est une œuvre majeure de l’Ontario français. Ce roman se fonde sur une relecture et une réécriture de plusieurs mythes égyptiens, grecs, scandinaves et chrétiens et se démarque largement par sa façon unique d’aborder la thématique de la vie et de la mort. Bien qu’on puisse penser le sujet épuisé aujourd’hui, la mort demeure un mystère qu’on ne peut élucider. C’est pourquoi les mythes présents dans l’œuvre de Christensen servent aux personnages à se familiariser avec la mort et participent aux initiations du personnage, de la narratrice, du lecteur et de l’auteure. La présente thèse tente de répondre à la question suivante : comment l’écriture ou la réécriture des mythes permet-elle d’apprivoiser la mort? Dans un premier temps, je présenterai, en lien avec les épreuves qu’affrontent les personnages principaux, les mythes qui orientent de manière positive leur initiation à la mort et servent ainsi de modèles aux lecteurs. Dans un second temps, j’examinerai l’effet-personnage dans le roman puisque les mythes et l’imagerie mortuaires suscitent parfois une certaine appréhension. Puisque les éléments mythiques proposent une nouvelle conception de la mort, je m’attarderai à leurs rôles dans la quête initiatique des principaux personnages et conséquemment dans le développement de la thématique centrale du roman – soit la mort. Enfin, dans le dernier chapitre je m’intéresserai à leur relation étroite avec le projet d’écriture et l’investissement du lecteur. Les travaux de Simone Vierne, Vincent Jouve et Metka Zupančič inspirent mes réflexions. Si les théories de Vierne guident le survol des mythes qui orientent le parcours initiatique, celles de Jouve sont toutefois privilégiées pour mieux comprendre l’effet-personnage et comment celui-ci a un impact important dans l’investissement affectif du lecteur.

The motorcycle industry is experiencing a paradigm shift. Alternatives to fossil fuels and changing customer preferences have slowly begun phasing out parts of the traditional motorcycle market. As a result of this, electric motorcycles are growing in popularity. A theory which discusses and theorizes regarding these types of industrial paradigm shifts is the theory of disruptive innovation. Disruptive innovation was introduced by scholar Clayton Christensen and has received a lot of attention since. The aim with this degree project was to contribute to our collective understanding of the innovation process by examining the electric motorcycle industry from the perspective of disruptive innovation. This was accomplished by compiling an industrial history of electric motorcycles which was analyzed using the concepts introduced by Christensen and further developed by his critics. This study used secondary information compiled in an industrial history using the narrative approach to historical analysis. The results showed that Christensen’s version of disruption was the most suited to explain the early attempts at electric motorcycles. The versions of disruption proposed by Christensen’s critics provided insight into how customer needs and the motorcycle market developed disruptive susceptibility over the years. The results of the study suggest that producers of electric motorcycles are adapting their products to the mainstream market instead of considering low-end markets with disruptive potential, which indicates that the actors are not expecting disruption as Christensen describes it.

本文旨在探討CHRISTENSEN.L.R.,D.W.JORGENSON,AND L.J.LAU（１９７１）（１９７ ３）提出二次對數（TRANSCENDENTAL LOGARITHMIC）函數形（簡稱TRANSLOG）二次對 數函數的實證應用，我們所選擇的實證對象為在現代經濟體系，扮演至為重要角色的 金融中介－－銀行。探討的方法：先選出擁有最好先驗理論特性的函數形，作為實證 函數形；其次，搜集資料，建立模型，選定適當估計方法，進行估計。第三，依據估 得結果，做銀行成本函數分析。本文的成本論基礎為BAMOUL（１９８２）競爭市場理 論，函數形的理論則部份應用對偶理論。 所以，本文首章旨在篩選模型的函數形；我們藉由FUSS,MCFADDEN,AND MUNDLAK （１ ９７８）及 LAU（１９８６）函數形標準，比較 CD,CES,……等九種函數形，從而得 出二次對數函數為本文模型最適實證函數形。 第二章則要說明實證資料，實證模型，估計方法及程式設計；這最後頸，本文擬將全 部估計過程製成附錄，以資採信或供有意做後續研究者參考，一改久遭疵議的黑箱實 證過程。 有了估計結果，經整理，第三章即可進行成本函數效率分析，但在分析之前要先交代 分析所依據的競爭市場理論。 最後的分析結果及建議，輯成末章，此即本文。