This thesis adds to the discussion surrounding how Apple Inc. has been able to to garner and maintain such a loyal brand following. With the help of background from theory on branding, it examines the uses of Michel Foucault’s heterotopia and religious allegory within Apple’s branding strategies. With the help of past discussions surrounding these topics, the presence of these uses in present day Apple branding is exemplified in the description and analysis of Apple’s 2014 “Your Verse Anthem” and the Apple Store as a branded space. Through this analysis, this thesis also makes an original argument for a consistent Apple heterotopia that is inherently religious. This heterotopia mirrors the story of Adam and Eve as, within its story, Apple promises that if their consumers will become loyal to the Apple brand by taking a bit out of Apple’s “forbidden fruit,” signified in their logo, Apple will help them see the truth of the Tree of Knowledge, which will help them understand that they need not conform but can instead use Apple products to realize their aspirations and create a life that represents their own version of utopia. This characteristically Apple religious heterotopia and the tactics used by Apple as a whole come together to draw the connection between Apple and the strategies used by cult leaders. This connection ultimately helps explain the loyalty and fever behind Apple’s consumer following.

This project examines the role played by chaos in shaping and defining the translation activity in a non-hegemonic context, with a focus on literary translation. Based on English-language U.S. and Canadian contemporary poetry translation into Romanian between 1960 and 2017, it challenges the ‘major’ vs. ‘minor’ dichotomy and moves to show that a transnational framework and a networked understanding of translator agency are much better suited to account for the complexity of a translation sociography. Acknowledging a necessary shift that draws on an economy of attention more than on an economy of production (Cronin 2016), as well as on Michael Cronin’s politics of microspection and on Kobus Marais’ paradigm of complexity (2014), my work takes distance from the Bourdieusian dynamics of power that has prevailed in translation studies since the late 1990s and favors a network approach that accounts for disruption, decentralization, and voids. This dissertation seeks to acknowledge the role played by chance, chaos, and self-regulation in shaping the activity of literary translation through the deployment of a mathematical model that has been at the core of Web 2.0 since its very inception. In doing so, my research sets out to complement Bruno Latour’s Actor-Network-Theory with the mathematical notions of network and network of networks. I endeavor to explore the webs of connectivity as they appear in real-life contemporary poetry translator networks with the purpose of potentially laying the groundwork for a possible redefinition of translation across society and media of circulation. Translation can be conceived, I propose, as an act that is essentially, simultaneously and irreducibly linguistic, cultural, and social, but also individual and collective, material and virtual, online and offline. Under these circumstances, I conclude that a critical re-examination of translation studies in micromodernity through a Digital Humanities lens becomes necessary, if not imperative.

abstract: Computational tools in the digital humanities often either work on the macro-scale, enabling researchers to analyze huge amounts of data, or on the micro-scale, supporting scholars in the interpretation and analysis of individual documents. The proposed research system that was developed in the context of this dissertation ("Quadriga System") works to bridge these two extremes by offering tools to support close reading and interpretation of texts, while at the same time providing a means for collaboration and data collection that could lead to analyses based on big datasets. In the field of history of science, researchers usually use unstructured data such as texts or images. To computationally analyze such data, it first has to be transformed into a machine-understandable format. The Quadriga System is based on the idea to represent texts as graphs of contextualized triples (or quadruples). Those graphs (or networks) can then be mathematically analyzed and visualized. This dissertation describes two projects that use the Quadriga System for the analysis and exploration of texts and the creation of social networks. Furthermore, a model for digital humanities education is proposed that brings together students from the humanities and computer science in order to develop user-oriented, innovative tools, methods, and infrastructures. / Dissertation/Thesis / Doctoral Dissertation Biology 2014

abstract: "Romantic Cyber-Engagement" offers a new type of dissertation organized around three projects that combine the core values of the Digital Humanities with the hypertext tradition of scholarly pursuits in the field of Romanticism. The first of the three Digital Humanities contributions is to the profession. "A Resource for the Future: The ICR Template and Template Guide" articulates a template for the construction and operation of an advanced conference in Romantic studies. This part of the project includes the conference web site template and guide, which is publicly available to all interested organizations; the template guide includes instructions, tutorials, and advice to govern modification of the template for easier adaptation for future conferences. The second project, "Collaborative Literature Projects in the Digital Age: The Frankenstein Project" is a functional pedagogical example of one way to incorporate Digital Humanities praxis as an interactive part of a college course. This part of the dissertation explains the "Frankenstein Project," a web site that I created for an undergraduate critical theory course where the students contributed various critical approaches for sections of the novel Frankenstein; or, The Modern Prometheus. The final project, "'[W]hat they half-create, / And what perceive': The Creation of a Hypertext Scholarly Edition of 'Tintern Abbey;'" is a critical approaches section in which I created an interactive web site that focused on the primary work, "Lines Written a Few Miles above Tintern Abbey: On Revisiting the Banks of the Wye during a Tour, July 13, 1798." This advanced, multimodal site allows viewers to examine various critical approaches to each section of the primary work, and the viewer/reader can interactively engage the text in dialogue by contributing their own interpretation or critical approach. In addition to the three products and analysis generated from this dissertation, the project as a whole offers an initial Digital Humanities model for future dissertations in discipline of English Literature. / Dissertation/Thesis / Ph.D. English 2013

"Royalty Free" is a video game that looks like a gallery, containing a curated selection of custom plant objects made by fans of The Sims franchise. By exploring the visual style and social-technical activities of players outside the game, it both appreciates and speculates about the potential future of 3D computer graphics as an expressive medium.

No description available.

本研究以《詩經》、《楚辭》、《全唐詩》、《全宋詩》及《全宋詞》等，數位化的文本資料作為基礎，運用資訊技術，建構分析文獻間借鑒的工具。工具採用字串或詞彙比對的方式，使用者可以透過設定，過濾出可能的對應關係，特別是《全唐詩》、《全宋詩》和《全宋詞》間字面上的類似之處。本研究參考人文領域的研究，用以評估工具的效果。同時，我們也藉由資訊科學的角度，統計如唐詩和宋代詩詞間的對應關係，亦透過如《詩經》和《詩經》、《楚辭》和《楚辭》、《全唐詩》和《全唐詩》、《全宋詞》和《全宋詞》、《全宋詩》和《全宋詩》的對應關係，挖掘同一時代文人作品的對應。另外，本研究也嘗試中國古典詩歌的斷詞，以及分析詩歌中詞彙的語意，未來也希望能夠透過語意進行詩歌比對。本研究雖不如傳統方法的人文研究深入，但提供從大量的語料中去蕪存菁，以及統計等相關服務，節省人文研究分析整理文本所需的時間，用數位的力量輔助人文領域的相關研究。

This thesis deals with the detection of three rhetorical figures based on repetition of words: chiasmus (“Fair is foul, and foul is fair.”), epanaphora (“Poor old European Commission! Poor old European Council.”) and epiphora (“This house is mine. This car is mine. You are mine.”). For a computer, locating all repetitions of words is trivial, but locating just those repetitions that achieve a rhetorical effect is not. How can we make this distinction automatically?  First, we propose a new definition of the problem. We observe that rhetorical figures are a graded phenomenon, with universally accepted prototypical cases, equally clear non-cases, and a broad range of borderline cases in between. This makes it natural to view the problem as a ranking task rather than a binary detection task. We therefore design a model for ranking candidate repetitions in terms of decreasing likelihood of having a rhetorical effect, which allows potential users to decide for themselves where to draw the line with respect to borderline cases.  Second, we address the problem of collecting annotated data to train the ranking model. Thanks to a selective method of annotation, we can reduce by three orders of magnitude the annotation work for chiasmus, and by one order of magnitude the work for epanaphora and epiphora. In this way, we prove that it is feasible to develop a system for detecting the three figures without an unsurmountable amount of human work.  Finally, we propose an evaluation scheme and apply it to our models. The evaluation reveals that, even with a very incompletely annotated corpus, a system for repetitive figure detection can be trained to achieve reasonable accuracy. We investigate the impact of different linguistic features, including length, n-grams, part-of-speech tags, and syntactic roles, and find that different features are useful for different figures. We also apply the system to four different types of text: political discourse, fiction, titles of articles and novels, and quotations. Here the evaluation shows that the system is robust to shifts in genre and that the frequencies of the three rhetorical figures vary with genre. / Denna avhandling behandlar tre retoriska figurer som bygger på upprepning av ord, kiasm (“Om inte Muhammed kan komma till berget får berget komma till Muhammed.”), anafor (“Det är inte rimligt. Det är inte hållbart. Det är inte rättvist.”), och epifor (“Den här stugan är min. Den här bilen är min. Du är min.”). En dator kan lätt identifiera upprepningar av ord i en text, men att urskilja enbart de upprepningar som har en retorisk effekt är svårare. Hur kan vi få datorer att göra detta? För det första föreslår vi en ny definition av problemet. Vi noterar att retoriska figurer är ett graderbart fenomen, med prototypiska fall å ena sidan, och klara icke-fall å andra sidan; däremellan finns ett brett spektrum av gränsfall. Detta gör det naturligt att se problemet som en uppgift som gäller rangordning snarare än binär klassificering. Vi skapar därför en modell för att rangordna repetitioner efter sannolikheten att de har en retorisk effekt. Därigenom tillåts  systemets användare att själva avgöra hur gränsfall ska hanteras. För det andra försöker vi undvika tänkbara svårigheter med att samla in annoterade data för att träna modellen för rangordning. Genom att använda en selektiv metod kan vi reducera mängden annoteringsarbete tusenfalt för kiasm och tiofalt för anafor och epifor. Det är alltså möjligt att utveckla ett system för att identifiera de aktuella retoriska figurerna utan en stor mängd manuell annotering. Slutligen föreslår vi en metod för utvärdering och tillämpar den på våra modeller. Utvärderingen visar att vi även med en korpus där få exempel är annoterade kan träna ett system för identifiering av repetitiva figurer med godtagbart resultat. Vi undersöker effekten av olika särdrag som bygger på t.ex. längd, n-gram, ordklasser och syntaktiska roller. En slutsats är att olika särdrag är användbara i olika grad för olika figurer. Vi prövar också systemet på ytterligare texttyper: politisk diskurs, skönlitteratur, titlar på artiklar och romaner, samt citat. Utvärderingen visar att systemet är robust vad gäller genreskillnader. Vi ser även att figurernas frekvens varierar över olika genrer.

The mode of carrying out literary spatial studies—or literary geography—has largely shifted to embrace digital methods and tools, culminating in the field of geospatial humanities. This shift has affected the scope of research questions that scholars can ask and answer using digital methods. Although there many continuities between non-digital and digital spatial studies, there are some fundamental points of departure in the critical processes that are involved in carrying out geospatial humanities research, including data modelling, prototyping, and multidisciplinary collaboration, that demand a revisit of the ways that knowledge production and analysis are carried out in the humanities. First there is thinking about how data models, prototypes, and digital projects embed within themselves spatial methodologies and spatial theory that form the foundation of humanities-oriented spatial inquiry. In addition, collaborating across multidisciplinary groups involves working toward shared project goals, while ideally ensuring that individual team members are drawing benefit from the collaborative research experience. Another factor has to do with creating rich and accurate data models that can capture the complexity of their subject of inquiry for meaningful humanities research. This dissertation addresses each of the aforementioned challenges through practical applications, by focusing not only on the literary contributions of geospatial humanities, but also engaging the critical processes involved in this form of digital research. By designing and co-creating three geospatial prototypes, TopoText, TopoText 2.0, and A Map of Paradise Lost, my goal is to demonstrate how digital objects can embody spatial theory and methodologies, and to portray how traditional literary studies approaches such as close reading and literary interpretation can be combined with digital methods that enable interactivity and mixed-media visualizations for an immersed literary geography analysis. The first two chapters translate a literary theory and method of analysis, geocriticism, into a digital prototype and iteratively improve on it to demonstrate the type of research made possible through a digital geocritical interpretation. In that part of the dissertation, I also address the challenges involved in translating a literary framework into a digital environment, such as designing under constraint, and discuss what is lost in translation alongside what is gained (McCarty 2008). Chapter three demonstrates how technological advances enable scholars to build community-university partnerships that can contribute to humanities scholarship while also making research findings publicly available. In particular, the chapter argues that scholars can draw on Volunteered Geographical Information to create rich cultural gazetteers that can inform spatial humanities research. The final two chapters demonstrate how a geospatial prototype that is fueled by rich data and embeds other types of media can inform literary interpretation and help make arguments. By focusing on the process of building A Map of Paradise Lost—a geospatial humanities text-to-map project that visualizes the locatable places in John Milton’s Paradise Lost—the closing chapter addresses the question “why map literature?” and demonstrates how the process of research prototyping is in itself a form of knowledge production. Since the methods and technologies that inform geospatial humanities research are rapidly evolving, this dissertation adopts a portfolio model and consists of five released and one forthcoming publications, as well as three published prototypes. Together, they form a digital dissertation, meaning that the digital component comprises a significant part of the intellectual work of the dissertation. Reflecting the collaborative nature of digital humanities research, some articles were co-authored and all three prototypes were co-developed. In all components of this dissertation, I took on the leading role in the publication and prototype development, which is detailed at the beginning of every chapter. / Graduate

Désormais, nous sommes tous photographes. Nos téléphones intelligents nous permettent de capter, de modifier et de partager nos clichés sur les réseaux en moins d’une minute, tant et si bien que l’image photographique est devenue une nouvelle forme de langage. Réciproquement, serions-­‐nous également tous écrivains ? Il existe en effet une véritable légitimité historique à penser que la notion d'écrivain, comme celle de photographe, s'étend le long d'un paradigme allant de la « simple » possession d'une aptitude technique jusqu'à la gloire des plus fortes figures de la vie culturelle collective. Cette thèse vise à déterminer comment se constitue une nouvelle mythologie de l’image photographique à l’ère du numérique, comprenant aussi bien la réévaluation du médium argentique vieillissant que l’intégration d’un imaginaire propre à ces technologies dont nous n’avons pas encore achevé de mesurer l’impact culturel sur nos sociétés. À cet égard, la perspective littéraire est riche d’enseignements en termes culturels, esthétiques ou même ontologiques, puisque la littérature, en sa qualité de relais du fait photographique depuis près de deux siècles, a pleinement participé à son invention : c’est là du moins l’hypothèse de la photolittérature. En cette période de transition technologique majeure, il nous revient de cerner les nouvelles inventions littéraires de la photographie, pour comprendre aussi bien les enjeux contemporains du fait photographique que ceux de la littérature / Nowadays, we are all photographers. Our smart phones allow us to take, edit and share our snapshots on social media in less than a minute, to the extent that the photographic image has become a new form of language. Reciprocally, have we all become writers as well? There truly is historical legitimacy in seeing the notion of the writer, like that of the photographer, as spanning a paradigmal spectrum, running from “simple” possession of technical aptitude, to the glory of the loftiest figures in our collective cultural life. This thesis aims to determine how the new mythology around the photographic image takes shape in the digital age, while also re-­‐evaluating the aging medium of film, as well as integrating a newly imagined sphere of ideas surrounding these new technologies, for which we have yet to measure the cultural impact on our societies. In this respect, a literary perspective is rich in cultural and even ontological lessons, since literature has interacted with photography for nearly two centuries, and thus contributed to its invention : this is at least the central hypothesis of photoliterature. In this period of major technological transition, we must therefore identify photography’s new literary inventions, so that we can better understand the contemporary issues surrounding both the worlds of photography and literature.