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Showing 1 to 10 of 12 (0.028 seconds)Spelling suggestions: "subject:"diadema""
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Automated Seed Point Selection in Confocal Image Stacks of Neuron CellsBilodeau, Gregory Peter 25 July 2013 (has links)
This paper provides a fully automated method of finding high-quality seed points in 3D space from a stack of images of neuron cells. These seed points may then be used as initial starting points for automated local tracing algorithms, removing a time consuming required user interaction in current methodologies. Methods to collapse the search space and provide rudimentary topology estimates are also presented. / Master of Science
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Image of the Basileus : the common character of royal self-presentation in the early Hellenistic world (323-276 BC)Holton, John Russell January 2014 (has links)
This thesis argues for a common character of royal self-presentation in the early Hellenistic world, defined in this thesis as the period between the death of Alexander in 323 BC and the accession of Antigonos Gonatas in 276. In contrast to current models of interpretation which analyse it on a predominantly regional or biographical basis, this thesis supports the validity of approaching Hellenistic kingship as a broader phenomenon. Royal self-presentation is defined here as imagery developed by the kings, ideology articulated by them, and symbolic deeds enacted by them. This thesis engages a distinction between local and international perspectives and a wide interdisciplinary view of the surviving evidence in order to demonstrate the common character of early Hellenistic royal self-presentation. This common character is in turn unified by a dominant Greco-Macedonian emphasis: accordingly, it is termed ‘the image of the basileus’ in this thesis. This ‘image of the basileus’ is a composite construction based on six themes of royal self-presentation, each of which is analysed and discussed in a separate chapter; their total character is adduced fully in the final conclusion to this thesis. Chapter 1 covers heroic themes in royal self-presentation, which scholars have generally overlooked in reference to the early Hellenistic kings despite their commonality and significance. Chapter 2 covers the diadem, which became the symbol of Hellenistic kingship par excellence and as such is of pivotal importance to this study. Chapter 3 covers the concept of spear-won land and the foundation of eponymous cities, which can be understood together as part of an image of territorial domination. Chapter 4 covers representations of divine favour and divine will, a crucial basis of support for the early Hellenistic kings. Chapter 5 covers joint kingship and father-son rule, an innovation in the structuring of royal power and thus a vital focus for this thesis. Chapter 6, the final chapter of this thesis, covers common imagery in the funerals of the kings, which is important as a summation of their self-presentation.
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Optimalizace vyhodnocování testů sloupku řízení / Optimizing Test Evaluation of the steering columnJanda, Radek January 2014 (has links)
This diploma thesis focuses on the study of the procedure of evaluation of the crash tests made on car steering columns and the subseuent optimalisation of this procedure by creating an evaluation sequence. The theoretical part contains the description of the testing environment and the description of the procedure of the crash test in use. Further in this section there is a description of several computer programmes which are used in the testing and evaluation procedure. The practical part starts with a description of the developement and the creation of the evalution programme that is able to evaluate the tests without the need for the operator to evaluate them himself. The results gained from the programme are veried in the following chapter. The conclusion is focused on comparing the old evaluation method with the new one that uses the evaluation sequences.
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Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diademaf Klinteberg, Kristina January 2020 (has links)
This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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Cennino Cenninis gyllene diadem : En studie kring vad ordet diadema kan beteckna i Il libro dell'arte / Cennino Cennini's Golden Diadem : A Study on the Meaning of the Word Diadema in Il libro dell'arteaf Klinteberg, Kristina January 2021 (has links)
In the early-15th-century book Il libro dell’arte by Cennino Cennini, the author uses the word diadema about a dozen times. The most recent Swedish edition from 2011 interprets this not as an object but as a halo, a divine light. The earlier edition from 1947/2000 keeps the closest meaning, a diadem, and by that the physical item. Both a material diadem and an immaterial halo would be represented in gold in the paintings described, consequently the symbolism of this material is closely linked to the interpretation of the motives Cennini could be describing. The time around 1400, in Florence, is an important period of transition, where a fashion that differs for men and women has just been born, the boundaries of the sumptuary laws concerning headdress and jewellery are constantly challenged by women, and the rise of a more secular world where an individual dignity developed may instead be an argument that the word diadema is an essential sign of a more materialistic lifestyle emerging. Several factors come together arguing that the golden headdress of the early renaissance played just as important a role in paintings as the divine light and therefore showing that not every item gilded is a symbol of divinity, it can also be earthly belongings such as insignia, jewellery and dress decoration.
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Kronor, kransar och diadem som rollsymboler i Rubens målningar över Maria de’ Medicis liv / Crowns, wreaths and diadems as role symbols in Rubens’s Marie de’ Medici Cycleaf Klinteberg, Kristina January 2022 (has links)
This is a study on crowns, wreaths and diadems as role symbols in Peter Paul Rubens’s 24 paintings for Marie de’Medici in Paris, 1622 – 1625. In these paintings, historic facts are shown with the addition of mythological gods and their symbols giving allegorical scenes, where sometimes also Christian symbols or subjects can be traced. A reader of these painted motifs therefore can choose to see the symbols as regal, Christian or mythological. The crown and the wreaths rarely present a challenge in modern interpretations, but the magnificent diadem does. Rubens chooses this diadem for higher goddesses, and for the queen a couple of times too. For some reason, this symbol is mostly misread in analyses. At this point in history, the crowns and the wreaths have been collected from divine spheres and turned into physical objects on earth used by the high and mighty. The large diadem has not; it is still only a symbol on a goddess. If and when put on a human in a portrait, the symbol gives the lady the abilities and characters of a goddess. Rubens uses his own design when turning this symbol into a physical picture;it is a high, pointed diadem with pearls and coloured gems set in gold. He has used it on goddesses both before and after the Medici commission. Today, we have seen numerous spectacular headpieces like this from late 18th century an onwards, wherefore it is an easy mistake to believe that Rubens copied what he saw instead of, as he actually did, foreboding a coming fashion. In addition to confirming this, I also suggest that it is the highest goddess Juno queen Marie is personifying. Juno is mostly known today as a goddess for women and childbirth. But she had far more masculine tasks in earlier days: she was seen as the saviour of the country and a special counsellor of the state. These two important roles are exactly what Marie de’ Medici took on when acting as regent for her young son, Louis XIII,after the murder of her husband, the late Henry IV. By putting Juno’s diadem on Marie’s head, when sitting on a throne, the divine abilities are manifested according to how a historic period could be transferred to the allegorical language in a painting at the time.
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Kärlekens skugg-gömma : om det queera begäret i Maria Gripes skuggromaner / The Shadowed Mirror of Desire : queer desires in Maria Gripe's shadow-novelsTorefeldt, Stina January 2018 (has links)
Maria Gripe’s shadow-series consists of four novels written in the 1980s and feature a character who present themselves as both as a girl and a boy. Carolin, also known as Carl has got a mysterious and captivating aura that leaves everybody fascinated and most people enamoured with him/her. Carolin shares many similarities with the 19th century author Carl Jonas Love Almqvist’s character Tintomara from the novel The Queen’s Tiara (Drottningens juvelsmycke). This essay examines the desire that is aimed at Carolin and explores the queer situations that arises as consequences of his/her cross dressing. I comparatively analyse the desire expressed in the shadow-series and The Queen’s Tiara to find similarities in who is affected by it and where the queer situations occur. The damaging effect of the desire is explored as well. The essay concludes that while most situations can be viewed as both heterosexual and homosexual Gripe uses genres and metaphors that amplify the queerness. Both Carolin and Tintomara are greatly affected by the desire toward them and get hurt because of it. Gripe and Almqvists charismatic androgynous characters bring desire and despair wherever they go, at least as long as they do not conform to society’s norm of gender dichotomy.
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Decoding ancient Egyptian diadems: symbolism and iconography as a means of interpreting feminine identityHarris, Stephanie Joan 02 1900 (has links)
Text in English / Ancient Egyptian distinctive headdresses made from precious or semi-precious materials date to prehistoric times, indicating a growing sense of individuality and hierarchy. Women’s headdresses were indicators of rulership, divinity, social status, cultic affiliation and wealth. Visual evidence indicates that female identity was emphasised by external and outward appearance and headdresses in the form of diadems followed recognised stylistic dictates throughout the Dynastic Period. The floral and faunal motifs used in the embellishment were believed to have protective amuletic and magical powers. Although a considerable amount of investigation has been undertaken into the use of materials and techniques used in the manufacture of diadems, the incorporation of symbolism and iconography of these gendered artefacts as a means of interpreting visual messages and self-expression has largely been unexplored. The study has been limited to well-provenanced, extant Old, Middle and New Kingdom diadems housed in various museums worldwide. / Old Testament and Ancient Near Eastern Studies / M.A. (Ancient Near Eastern Studies)
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Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010 / A Diadem and its Iconography : A Study of Empress Josephine’s Pearl and Cameo Diadem in Portraits between 1812 and 2010af Klinteberg, Kristina January 2021 (has links)
The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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'Factum ex scientia': I Canadian Corps Intelligence during the Liri Valley Campaign, May – June 1944Seefeldt, Connor 26 September 2012 (has links)
Studies on Canadian Army military intelligence remain sparse in Canadian military historiography. This study is unique in that it focuses on the development, doctrine, and influence of intelligence within the I Canadian Corps throughout the Liri Valley battles during the Italian Campaign. It will be argued that I Canadian Corps intelligence achieved notable overall success in helping to break the Hitler Line by providing comprehensive and relatively up-to-date information on enemy dispositions and strengths which helped commanders and staff planners properly prepare for the operation. This success was attributable to three main factors: excellent intelligence personnel selection and training; the successful mentorship of I Canadian Corps intelligence by Eighth Army's intelligence cadre; and the overall effectiveness of 1st Canadian Infantry Division's intelligence organization which had been in the Mediterranean theatre since July 1943. Notwithstanding these successes, a number of faults within the Canadian Corps intelligence system must also be explained, including the poor performance of 5th Canadian Armoured Division's intelligence organization during the pursuit up the Liri–Sacco Valleys, and the mediocre execution of Corps counter-battery and counter-mortar operations. This study will demonstrate how an effective intelligence organization must augment existing army doctrine and how it can mitigate, though not completely eliminate, battlefield uncertainty. Further, it will also demonstrate that a comprehensive lessons-learned process must be undertaken to continually refine existing intelligence doctrine and procedures, with frequent training programs inculcating personnel in this doctrine. Taken as a whole, this study is unique as it is one of only several studies devoted solely to developing a greater understanding of a little-understood, and often forgotten, staff function within the Canadian Army during the Second World War.
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