<p>Syftet med uppsatsen är att följa etableringen av prepositionen <em>givet</em>, samt att försöka förklara denna ut­veckling. I undersökningsmaterialet, som består av presstextkorpusar från perioden 1923–2008, ökar prepositionen <em>givet </em>i användningsfrekvens från det första belägget 1987. Undersökningen visar också att den relativa andelen där perfektparticipet <em>givet </em>används som verb minskar, och det används som del i kollokationer i högre utsträckning.</p><p>I syfte att förklara etableringen har prepositionen <em>givet </em>analyseras efter Paul J. Hoppers fem grammatikaliseringsprinciper <em>skiktning, splittring, dekategorisering, beständighet</em> och <em>specialisering</em>. Principerna har formulerats för att kunna identifiera pågående grammatikalisering i tidigt stadium. Resultatet av analysen efter Hoppers fem principer talar tämligen svagt för att prepositionen <em>givet</em> genomgår en grammatikaliseringsprocess. Avsaknaden av syntaktiskt dubbeltydiga konstruktioner öppnar inte heller för möjligheten att förklara utvecklingen av prepositionen med hjälp av reanalys. Prepositionen <em>givet</em> uppvisar däremot starka semantiska likheter med vissa belagda betydelser för det adjektiviska participet <em>givet</em>, liksom likheter med det liknande engelska uttrycket i prepositionen <em>given</em>. En möjlig förklaring till att prepositionen <em>givet</em> etablerats i svenskan och tycks öka i användning kan vara utvecklingen mot större andel substantiviska uttryck i det skrivna språket. Nybildade prepositioner kan också antas vinna mark just på grund av att de har en större lexikal tyngd än äldre, och att dessa fyller ett tomrum i språket som de befintliga, primära prepositionerna inte förmår fylla.</p>

<p>Flow in a hopper is both a fertile testing ground for understanding fundamental granular flow rheology and industrially highly relevant. Despite increasing research efforts in this area, a comprehensive physical theory is still lacking for both jamming and flow of granular materials in a hopper. In this work, I have designed a two dimensional (2D) hopper experiment using photoelastic particles ( particles' shape: disk or ellipse ), with the goal to build a bridge between macroscopic phenomenon of hopper flow and microscopic particle-scale dynamics. Through synchronized data of particle tracking and stress distributions in particles, I have shown differences between my data of the time-averaged velocity/stress profile of 2D hopper flow with previous theoretical predictions. I have also demonstrated the importance of a mechanical stable arch near the opening on controlling hopper flow rheology and suggested a heuristic phase diagram for the hopper flow/jamming transition. Another part of this thesis work is focused on studying the impact of particle shape of particles on hopper flow. By comparing particle-tracking and photoelastic data for ellipses and disks at the appropriate length scale, I have demonstrated an important role for the rotational freedom of elliptical particles in controlling flow rheology through particle tracking and stress analysis. This work has been supported by International Fine Particle Research Institute (IFPRI) .</p> / Dissertation

La stéganographie est la science de l'écriture cachée. Dans ce contexte, un individu tente de communiquer avec une entité sans éveiller les soupçons sur le fondement même de la communication. Cette science vient en complément de la cryptographie (sécurisation de la communication -- COMSEC) lorsqu'un besoin d'invisibilité de la communication se fait sentir. Cette thèse, réalisée sous la tutelle et au profit de l'État Major des Armées, traite donc des différentes techniques permettant l'élaboration d'un schéma de stéganographie (sécurisation de la transmission -- TRANSEC), techniquement opérationnel et assez solide, visant à insérer un message d'une dizaine de kilo-octets dans une image JPEG de dimensions raisonnables, et capable de résister aux différentes attaques données par l'état de l'art. Afin de rendre ce schéma le plus sûr possible, les formats de données les plus courants sont étudiés (JPEG, BMP, MP3), avant de définir un premier algorithme d'insertion. Ce dernier, fondé sur les travaux de Hopper, reste conceptuel mais permet de définir les fondements de notre algorithme (nommé IMEI). Ce dernier maximise l'efficacité d'insertion, et donc minimise le nombre de modifications apportées au cover-médium. Une analyse de l'algorithme HUGO présenté dans le contexte du challenge BOSS va nous permettre de définir un protocole de stéganalyse, ainsi qu'une deuxième brique importante pour l'IMEI. La dernière partie de ce manuscrit regroupe la partie stéganalyse, avec l'évaluation de l'IMEI et une stéganalyse réellement opérationnelle dans laquelle nous pouvons retrouver une étude de l'utilisation concrète de la stéganographie et de son évaluation.

Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

El presente es un profundo análisis del film “Blue Velvet” de David Lynch y la reinterpretación del concepto “nostalgia norteamericana”, visto en las pinturas de Edward Hopper. La “nostalgia americana” es un término acuñado por la tesista, que describe el sentir de la población estadounidense luego de los momentos de guerra y crisis de su país. Gracias a un análisis de la imagen, se concluye que las pinturas de Edward Hopper retratan ese estado anímico compuesto de nostalgia, soledad, ensimismamiento y melancolía, a través de los aspectos formales y de contenido. De esa manera aparece David Lynch, quien logra reinterpretar el mismo sentir. Luego de descomponer “Blue Velvet” y analizar minuciosamente sus escenas, se argumenta que la reinterpretación se da a través de dos procedimientos: a través de composiciones similares entre las pinturas y los encuadres, y por medio de los nuevos recursos que otorga la comunicación audiovisual, que favorecen e impulsan dichos aspectos de composición. Es importante tener en cuenta que tanto los recursos audiovisuales, como los aspectos formales (en las pinturas) se relacionan al componer encuadres similares y narrar casi un mismo discurso: el de la “nostalgia americana”. Sin embargo, este relato se potencia en “Blue Velvet”, ya que se utilizan recursos como el movimiento de cámara, el movimiento interno y el montaje, los cuales favorecen a evidenciar el concepto. Y allí se descubre la relevancia de esta investigación, ya que, gracias al análisis de los recursos audiovisuales, se evidencia la autoridad del cine como recurso artístico capaz de observar, procesar y analizar sucesos traumáticos que han sido parte la historia. Se otorga un aporte al conocimiento existente sobre cine y pintura, pero además se enriquece el conocimiento audiovisual estableciendo nuevos aportes y conceptos. / Tesis

Syftet med uppsatsen är att följa etableringen av prepositionen givet, samt att försöka förklara denna ut­veckling. I undersökningsmaterialet, som består av presstextkorpusar från perioden 1923–2008, ökar prepositionen givet i användningsfrekvens från det första belägget 1987. Undersökningen visar också att den relativa andelen där perfektparticipet givet används som verb minskar, och det används som del i kollokationer i högre utsträckning. I syfte att förklara etableringen har prepositionen givet analyseras efter Paul J. Hoppers fem grammatikaliseringsprinciper skiktning, splittring, dekategorisering, beständighet och specialisering. Principerna har formulerats för att kunna identifiera pågående grammatikalisering i tidigt stadium. Resultatet av analysen efter Hoppers fem principer talar tämligen svagt för att prepositionen givet genomgår en grammatikaliseringsprocess. Avsaknaden av syntaktiskt dubbeltydiga konstruktioner öppnar inte heller för möjligheten att förklara utvecklingen av prepositionen med hjälp av reanalys. Prepositionen givet uppvisar däremot starka semantiska likheter med vissa belagda betydelser för det adjektiviska participet givet, liksom likheter med det liknande engelska uttrycket i prepositionen given. En möjlig förklaring till att prepositionen givet etablerats i svenskan och tycks öka i användning kan vara utvecklingen mot större andel substantiviska uttryck i det skrivna språket. Nybildade prepositioner kan också antas vinna mark just på grund av att de har en större lexikal tyngd än äldre, och att dessa fyller ett tomrum i språket som de befintliga, primära prepositionerna inte förmår fylla.

Numerous spacecraft designs exist for exploring the surfaces of planetary bodies and each have their own advantages and disadvantages. All successful landings have been made by stationary landers or wheeled rovers that rely on one-time use mechanisms, such as crushable aluminum honeycomb shock absorbers or inflatable airbags, to reduce shock loading to the spacecraft during landing. The stationary lander is the simplest type of lander, but can only take data from one location. Wheeled rovers add complexity in exchange for mobility to explore different locations. Rovers are limited by the terrain they can traverse; rovers becoming stuck have ended missions. In contrast to rovers and stationary landers, hoppers explore by making multiple launch and landing hops. They have the advantage of being able to avoid terrain that would cause a rover to become stuck. A hopper may require a landing shock absorber that can reliably operate multiple times in harsh environments. Most terrestrial shock absorbers use hydraulic fluid, allowing for compact and inexpensive devices. Hydraulics have been used in space applications, but require thermal controls to maintain the proper fluid viscosity. They also require dynamic seals which, in the case of a leak, can degrade performance, shorten mission life, and contaminate sensitive science equipment. Leakage is also a concern in pressurized systems in space because missions can take decades from when a system is installed to when it actually is used. To address these issues, a pressurized metal bellows shock absorber is proposed. This shock absorber could operate at nearly any expected spacecraft environment. Metal bellows are designed to operate from cryogenic temperatures to several hundred degrees Celsius. A hermetically sealed system eliminates the risks of a system with seals. Metal bellows are in common use for terrestrial harsh environments and vacuum applications. Small metal bellows are used as dampers for pressure control systems with small displacements. Models for the dynamics of this device are developed and presented here. Starting from the ideal gas law, polytropic compression, and compressible flow through an orifice, differential equations of motion and pressure are derived. These equations are nonlinear for the displacements under consideration and are nondimensionalized to help provide insight. Equations for static equilibrium, maximum initial displacement bounds, and estimated natural frequency are presented. Metal bellows can operate as a passive damper with a simple orifice between the control volumes. Optimization is performed for the nondimensional model of a passive damper. Because the response is highly nonlinear, a method is developed to estimate a damping coefficient that is used as the objective function for this optimization. Feasibility of this concept is investigated through an example design problem using data from a metal bellows manufacturer as constraints. An optimal mass configuration is found that meets the design constraints. Performance can be improved over the passive system by adding control. The first control strategy involves a check valve, such that the effective orifice size varies between compression and extension. The next control strategy replaces the orifice with a control valve. Varying the valve opening and closing timing can achieve optimal performance. Finally, using the metal bellows as an actuator to help launch the hopper is investigated. While the valve is closed, the gas in the second volume is compressed. Then the valve is opened the hopper is launched. The results of this research show that a metal bellows device holds promise as a landing shock absorber and launch actuator to extend the range of hopper spacecraft.

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The main aim of the Master Thesis is the work of the 1940s by the American painter Edward Hopper (1882-1967) in a relationship to the long poem by Wystan Hugh Auden The Age of Anxiety. A Baroque Eclogue (1947). The Thesis in ten chapters researches Hopper's painting Nighthawks (1942), which is considered to be one of the most important works by Hopper from the war years. Unique position of this painting is reconstructed through intermedial projections and linkages towards the Auden's poem. Next to the interpretation of the intermedial relations, in the centre of the Thesis are time-space relations to Hopper's painting semantics due to period thoughs of temporality, atemporality and aperspectivism. An attention is also paid to the relation of the painting and phenomenology of temporal consciousness and continuance in connection with semantics of the space as "heterotopia".