Les surfaces nanostructurées permettent d’obtenir des effets colorés gonio-apparents lorsque les nanostructures présentent des dimensions de l’ordre des longueurs d’onde du spectre visible. ces couleurs sont habituellement modélisées par le biais d’interactions de types «interférences» ou «cristaux photoniques» entre le rayonnement lumineux et une structure modèle. dans cette thèse, l’anodisation d’aluminium est utilisée comme méthode de structuration à l’échelle submicronique. cette technique présente l’avantage d’être mature industriellement et de permettre de structurer de grandes surfaces. des effets colorés sont observés même si les structures obtenues ne sont pas parfaitement ordonnées. le but de cette thèse est de comprendre les phénomènes optiques mis en jeu dans l’obtention de ces effets. ce manuscrit se divise donc en deux parties principales, toutes deux basées sur une étude de la littérature existante. afin d’établir un parallèle entre caractérisation expérimentale et simulation numérique, la première partie présente l’outil de caractérisation optique développé. la seconde est dédiée à l’étude des effets colorés de certaines surfaces d’aluminium anodisé. cette partie propose une compréhension des phénomènes d’interaction de la lumière avec la structure d’aluminium anodisé se basant sur les caractérisations optiques et microstructurales des échantillons, associées à une modélisation de l’interaction entre rayonnement et matière structurée. cette étude montre que les structures réelles présentent un ordre à courte distance. les effets colorés sont simulés par la méthode modale de fourier par le biais de structures modèles avec un certain niveau de désordre. / Nano-structured surfaces allow obtaining of colored gonio-apparent effects when the nano-structures dimensions are of the order of the visible spectrum wavelengths. these colors are usually modeled by means of the interactions type so-called « interferences type » ou « photonic crystals type » between the luminous radiation and a model structure. in this thesis, the anodization of aluminum substrates is used to produce surface structures at the submicron scale. this technique is industrially mature and allows to structure large surfaces. color effects were observed even if obtained structures are not perfectly ordered. the aim of this thesis is the understanding of the optical phenomena involved in the production of such effects. this manuscript is divided into two main parts, both based on the existing literature analysis. in order to draw a parallel between experimental characterization and numerical simulations, one part presents the instrumental development of the optical characterization instrument. the second one is dedicated to the study of color effect of certain anodized aluminum surfaces. this part proposes an understanding of the interaction phenomena between the light and the anodized aluminum structure, based on the optical and microstructural characterization of the samples, associated to a modeling of the interaction between light and structured matter. this study shows that such structures present a short-distance order. the color effects are simulated numerically by fourier modal method by the means of model-structures with certain disorder degree.

Dreams are one of the most secret processes of human’s psychology which formation device has not been finally clarified yet. Scientists from all over the world, successfully working on this project, the results of their researches and works adduce as different hypothesis, because it is really difficult to formulate thesis that could be tested using laboratories because of the research specifics of the psychophysical proceeding of a dream. It is usual that a new theory is often denied by some examples which can not be proved according to the theory. Realized and unrealized proceedings reflect in dreams which in their content are connected with phenomenon from the outer world, just as psychophysical proceedings of human organism or demands. The content of dreams is mostly influenced by past experience and information lying in subliminal mind. However, such an explanation does not overwhelm a big part of dreams which are interesting and secret. In the research paper there was analyzed the influence of dreams on the dreamer, what sort of mood he has in the morning. It is possible that many days or weeks he is persecuted by a black shadow of a woeful dream, which is difficult to remember. It is possible that he feels tired and prostrate or conversely: he feels assured, negotiating all the barriers on his way. Colour and its symbolic meaning also have a big role in a dream. Features that influence perception of colours are: living experience, position and gradation scale. They are... [to full text]

I have written an essay called ”All children are equally worth - A qualitative analysis of how children are produced in KappAhls commercials”. The purpose of this thesis is to do a study of the swedish clothing company KappAhl’s commercials. My purpose is divided into three questions: With which clothing colours are girls and boys represented in the commercials? Is there any difference in the making of ”non-white” and ”white” children in the commercials? and What is being transmitted in KappAhl’s commercials, where the focus should lay on the clothes? My material consists of three selected video clips from KappAhl’s Youtube channel. The three commercials are named: 1, Back to school, 2, Children’s christmas and 3, KappAhl 3 för 2 på alla överdelar för barn (translation: KappAhl 3 for 2 on all children’s tops). I have chosen to use photo interpretation with denotation and connotation as the main tools and also qualitative analysis as methods in my review of the material. The main theoretical base in my thesis is gender theory, while, for instance, stereotypes, binary oppositions and ethnicity are concepts chosen in hope to reach a deeper analytical level. I have also analyzed these commercials through the colours on the children’s clothes, the way the children are dressed and the settings around them. Through the analysis I have come to the conclusion that the children are dressed quite alike, in similar colors. But the girls are often dressed in colors that we find ”neutral” on girls, but if the boys would wear the colors that we find "neutral" on girls, we would see them as boyish. The boys would never wear colours that would seem ”neutral” on them, but in the general eye of society these colours would be seen as girl colors. The biggest difference I found in the commercials between ”non-white” and ”white” was that the ”white” younger boys were mystified through hats and hooded sweatshirts, and the ”non-white” boy, and the ”non-white” grown-up men were all themself with no assecceories trying to mystify them.

Swahili has a larger inventory of (more or less \"basic\") colour terms than most Bantu languages. The aim of this article is to present this colour terminology and to point out semantic, syntactic and morphological divergences. We also look at the etymology of the various colour terms and try to establish a chronology of the growth (and decline?) of Swahili colour terminology.

Introduktion - Syftet med det här examensarbetet var att undersöka om färgat ljus haren påverkan på högskolestudenters känsloupplevelser på kort sikt. Sinnesstämningarnastress och lugn undersöktes specifikt, men även övriga känslor var inkluderade. Studiens bakgrund grundar sig i den ökade stress som framför allt högskolestudenterupplever, och om färgat ljus kan bidra med en känsla av lugn.Metod – Experimentet utfördes genom att deltagarna satt i ett litet rum och utsattes föråtta nyanser av färgat ljus (stark och svag av röd, blå, grön och gul). Varje deltagareupplevde en slumpmässig sekvens av nyanserna, med ett vitt neutraliserande ljus mellanvarje nyans. Den valda datainsamlingsmetoden var intervjuer, som genomfördes idirekt anslutning till experimentet. Deltagarna fick uppge vilken nyans de upplevdesom mest stressande respektive mest lugnande, samt om de upplevde andra känslor tillövriga nyanser. Resultat och Analys - Den insamlade datan visar att en stark röd färg är den somöverlägset flest upplevde som mest stressande. Det var flera av deltagarna somassocierade den röda färgen till ondska, hotfullhet och allvar, vilket enligt dem självavar anledningen till att de upplevde den som stressande. En del tyckte den varklaustrofobisk eller för intensiv. Angående den lugnaste färgen visar datan mer spriddaresultat, även om svag blå var den som flest sade var lugnast. Återigen varanledningarna ofta att deltagarna associerade färgen till något särskilt som gjorde demlugna. En del blev lugna för att ljusfärgen var mer behaglig eller mer lik det neutralaljuset. Resten av den insamlade datan visar att deltagarna upplevde färgerna på väldigt olikasätt. Generellt sett säger svaren att de starka nyanserna upplevdes mer intensiva än desvaga, men vilket dem föredrog var olika. Diskussion - Resultaten bekräftar en del tidigare forskning som skett med ljus ochfärger, och framför allt bekräftar den teorier om hur associationer spelar en stor roll ihur vi upplever färger. Associationer visade sig då spela stor roll då många av svarensom inkom tyder på att det var associationer till annat som orsakade känslorna, och inteljuset i sig. En del gjorde inte lika många associationer och kunde förklara att deföredrog det ena framför det andra på grund av hur ljuset förändrade rumsuppfattningeneller hur det betedde sig. / Introduction - The purpose of this thesis was to investigate whether coloured light hasan impact on college students' emotional experiences in the short term. The differenttypes of moods such as stress and the feeling of being calm were examined specifically,other emotions were also included. The background of the study is based on theincreased stress that especially college students experience, and whether coloured lightcan contribute to a feeling of calmness. Method - To investigate what we were looking for, experiments were performed wherethe participants sat in a small room and were exposed to eight shades of coloured light(strong and weak of red, blue, green, and yellow). Each participant experienced arandom sequence of shades, with a white neutralizing light between each shade. The data collection method chosen was interviews, which were conducted in directconnection with the experiment. The participants had to state which shade theyexperienced as most stressful and most calming, and whether they experienced otheremotions to other shades. Results and Analysis - The data collected shows that a strong red colour is the one byfar the most experienced as most stressful. Several participants associated the red colourwith spite, seriousness and as threatening, which according to them was the reason whythey experienced it as stressful. Some thought it was claustrophobic or too intense. When it comes to the calmest colour, the data shows more scattered results, althoughweak blue was the one most people pointed out as calming. Again, the reasons wereoften that the participants associated the colour with something specific that calmedthem. Some shades became calm because the light colour was more pleasant or morelike the neutral light. The rest of the data shows that the participants experienced the colours in very differentways. In general, the responses implies that the strong shades were perceived as moreintense than the weak ones, but which they preferred were different. Discussion - The results confirm some previous research that has been done with lightand colours, and it especially confirms theories about how associations play a big rolein how we experience colours. Associations then proved to play a major role as manyof the responses indicated that it was associations to other things that caused theemotions, and not the light itself. Some did not make as many associations and couldexplain that they preferred one over the other because of how the light changed theperception of space or how the light behaved itself.

This thesis gives, for the first time, a clear exposition of the activities of the Arundel Society (1848-1897). Founded to 'collect diligently and with discrimination the highest and best examples of Art and to bring them before hundreds of English minds' the presence of Aubrey Bezzi, Lord Lindsay, Edmund Oldfield, Samuel Rogers and John Ruskin on the Society's first council meant that the initial publication of engravings after two early Italian artists, Fra Angelico and Giotto, was unsurprising. After 1856, under the guidance of Henry Layard, the archaeologist and politician, the Society became even more firmly committed to copying and publishing frescoes of the early Renaissance. The council's aim in recording and publishing these endangered works of art was to educate the taste of the public and inspire artists to embark on programmes of mural decoration. The water-colours executed for the Society are discussed with particular reference to the reactions of the council, and of members and the press to the problem of their verisimilitude. About two-thirds of these copies were published as chromolithographs and the gains and liabilities of this initially very popular method of reproduction are examined. Other methods employed by the Society to publish fac-similies of classical and medieval ivories and reduced copies of the Elgin marbles are also discussed with general reference to Victorian attitudes towards reproductions. The penultimate chapter attempts to relate the prints and monographs published by the Society to the art historical scholarship of the period. It is shown that the council's publication of decorative quattrocento, provincial cinquecento and early Flemish and German artists was influenced by Henry Layard's preferences. His monographs for the Society are discussed and compared with the more scholarly, if diverse, contributions made by, among others, G. W. Kitchin, John Ruskin, George Scharf and Ralph Wornum. In the final chapter it is argued that the Society's loyalty to the tastes of the mid-century and to the process of chromolithography led to its dissolution.

<p>Quasars form one of the most energetic phenomena in the universe, and can be traced out to very large redshifts. By studying the galaxies which host the active nuclei, important insights can be gained into the processes that trigger and maintain the quasar powerhouse. The evolution rate of the quasar population is furthermore similar to that of ordinary galaxies, which implies a connection between black hole accretion and star formation in the host galaxies. While the properties of quasar host galaxies at low redshift have become better constrained in recent years, less is known about hosts at earlier cosmic epochs. In addition, though radio-quiet quasars are by far more common than their radio-loud counterparts their host galaxies have not been studied to the same extent, in particular not at higher redshifts.</p><p>An imaging campaign of a large sample of quasars at intermediate redshift (0.4 < z < 0.8) was carried out at optical wavelengths using the Nordic Optical Telescope, and is studied in this thesis together with two smaller samples. The joint material forms more than half of the total number of observed sources in this redshift interval and increases the number of resolved radio-quiet hosts at z>0.4 considerably. The morphology and mean magnitudes are found to be similar for radio-loud and radio-quiet host galaxies. Both types of host are shown to have optical colours as blue as those of present-day late-type spirals and starburst galaxies, which is likely the result of ongoing star formation.</p><p>With increasing redshift, observations of host galaxies become more difficult. High spatial resolution can be achieved with adaptive optics, but the variation of the point spread function in the near-infrared wavelength band which is most suited for detection is large and rapid. A statistical approach to the problem of characterizing the point spread function has been developed, making use of simulated objects which are matched to the different atmospheric conditions. Bright, compact host galaxies showing signs of merging and interaction were detected in this way for three quasars at z~2.2, which were observed with the ESO 3.6 m telescope. The method is not restricted to host galaxy analysis but can be utilized in other applications as well, provided that the underlying extended source can be described by an analytical model. </p>

Quasars form one of the most energetic phenomena in the universe, and can be traced out to very large redshifts. By studying the galaxies which host the active nuclei, important insights can be gained into the processes that trigger and maintain the quasar powerhouse. The evolution rate of the quasar population is furthermore similar to that of ordinary galaxies, which implies a connection between black hole accretion and star formation in the host galaxies. While the properties of quasar host galaxies at low redshift have become better constrained in recent years, less is known about hosts at earlier cosmic epochs. In addition, though radio-quiet quasars are by far more common than their radio-loud counterparts their host galaxies have not been studied to the same extent, in particular not at higher redshifts. An imaging campaign of a large sample of quasars at intermediate redshift (0.4 &lt; z &lt; 0.8) was carried out at optical wavelengths using the Nordic Optical Telescope, and is studied in this thesis together with two smaller samples. The joint material forms more than half of the total number of observed sources in this redshift interval and increases the number of resolved radio-quiet hosts at z&gt;0.4 considerably. The morphology and mean magnitudes are found to be similar for radio-loud and radio-quiet host galaxies. Both types of host are shown to have optical colours as blue as those of present-day late-type spirals and starburst galaxies, which is likely the result of ongoing star formation. With increasing redshift, observations of host galaxies become more difficult. High spatial resolution can be achieved with adaptive optics, but the variation of the point spread function in the near-infrared wavelength band which is most suited for detection is large and rapid. A statistical approach to the problem of characterizing the point spread function has been developed, making use of simulated objects which are matched to the different atmospheric conditions. Bright, compact host galaxies showing signs of merging and interaction were detected in this way for three quasars at z~2.2, which were observed with the ESO 3.6 m telescope. The method is not restricted to host galaxy analysis but can be utilized in other applications as well, provided that the underlying extended source can be described by an analytical model.

In the search for companies to distinguish themselves from the mass, so called non-traditional trade marks have become increasingly popular, and in particular colour marks. It is now clear that abstract colour marks can be registered as trade marks, and the number of registered colour marks has increased considerably in recent years. However, it remains a lot more uncertain, mainly due to lack of case law, what the extent of colour marks’ scope of protection is. Are colours actually worth protecting? The purpose of this thesis is to examine the scope of protection of registered abstract colour marks from an EU perspective. Through this examination it will also be established whether colours are worth protecting. The essential function of trade marks is to indicate the origin of products. Signs that are capable of being represented graphically and capable of distinguishing goods and services from one undertaking from those of other undertakings can be registered as trade marks. Colours can fulfil these criteria in certain circumstances, however, colours can practically never have distinctive character per se. Instead, they must have acquired distinctive character through use. Since it is quite difficult to register colour marks, a colour mark proprietor should be prepared to have the validity of his trade mark challenged if he issues proceedings for infringement. There are a few national cases from EU Member States that have concerned infringement of colour marks, and in all of these the plaintiff was successful in claiming infringement. Through the decisions in these cases, general legal principles and statements made in literature, the scope of protection of colour marks has been examined. Infringement of a colour mark occurs in three different situations: where there is likelihood of confusion, where there is double identity and where there is dilution of a trade mark with a reputation. Some of the most important findings are that confusingly similar colours include adjacent shades, but in order to prove likelihood of confusion, the infringing colour must probably be perceived by the public as an indication of origin and other signs that appear together with the colour must probably be taken into account, which limits the scope of protection to some extent. However, since colour marks must almost always have acquired distinctive character through use, consumers are used to perceiving that colour as a trade mark in relation to those types of goods/services, and are therefore more likely to do so also when the colour is used by the third party. Furthermore, there have to be an individual assessment in each case in order to determine whether surrounding signs exclude a likelihood of confusion, where all factors should be considered, including the distinctiveness of the colour mark and how clear and prominent the other signs are. In situations of double identity, the infringing sign does not have to be used as a trade mark, which is advantageous for colour mark owners. Furthermore, identical colours can possibly include other shades if they are so similar that the difference is barely perceptible in a direct comparison. Colour marks can often qualify as trade marks with a reputation, since the assessment of whether trade marks have a reputation is similar to the assessment of whether trade marks have acquired distinctive character through use. Trade marks with a reputation has an extended protection meaning that if a third party uses a sign that is identical or similar to a trade mark with a reputation, and that use without due cause takes unfair advantage of, or is detrimental to, the distinctive character or repute of the trade mark, then that use constitutes infringement. This applies both in relation to identical, similar and dissimilar products, however, it will probably only apply in relation to identical or similar products when it comes to colour marks, due to the extensive use of colours in the market. The extended protection could be relevant in particular in situations where likelihood of confusion cannot be proven, because the public does not perceive the infringing sign as a trade mark or because of surrounding prominent signs. This examination shows that the scope of protection of colour marks is not great, it has some weaknesses. However, it is definitely not worthless either, which clearly shows in the fact that the plaintiffs were successful in claiming infringement in all of the infringement cases. By registering a colour as a trade mark, a company can to some extent stop others from using the same or similar colour, and it will also most likely have a discouraging effect. However, some carefulness should still be applied in relation to colour marks, since this is still a very new phenomenon and additional case law can take another direction. But considering how the situation looks today, colours are worth protecting as trade marks.

Questo lavoro si concentra sul testo À la Recherche du temps perdu di Marcel Proust rintracciando e catalogando tutte le indicazioni cromatiche presenti nell’opera (aggettivi di colore, verbi, sostantivi di colore, ecc.). Considerando lo statuto del colore – fondamentalmente ambiguo – tra la fine del XIX secolo e l’inizio del XX (nella teoria scientifica, così come nella riflessione filosofica, psicologica e artistica), la tesi dimostra la presenza di svariate linee di forza (sovrapposte, contraddittorie, ambigue) nel trattamento del fenomeno “colore” all’interno del testo letterario. Infine, la tesi analizza come le occorrenze cromatiche del testo proustiano si legano a scelte stilistiche precise (ad esempio: strutture sintattiche parallele, sinestesie, participi e adjectifs verbaux, metonimie…), dal momento che il colore proustiano provoca nel testo uno scarto rispetto alla norma. / This work focuses on the text À la Recherche du temps perdu by Marcel Proust: it scans and classes all the chromatic references of the text (colour adjectives, colour verbs, colour nouns and so on). Considering the ambiguous status of colour between the end of the 19th century and the beginning of the 20th (in the scientific field, as well as in the philosophic, psychological and artistic domain), this theses shows the presence of contradictory trends of the use of colours inside a literary text. Finally, the work shows how the colour references in the Proustian text are linked to recurrent stylistic devices (parallelism of syntax constructions, use of synesthesias, use of present participles of verbs, use of metonymies…), confirming that the presence of colour in the artistic text causes a gap in comparison with the standard French syntax.