Denna uppsats är en studie av Eyvind Johnsons användande av sagoformen i romansviten Romanen om Olof (1934-37), och behandlar de fyra sagor som infogats i verket. Utgångspunkten är Johnsons eget påstående att sagorna är "på sitt sätt det mest realistiska i boken". Studien syftar till att redogöra för hur sagorna fungerar som verklighetsskildringar, och på vilket sätt de är realistiska. Sagorna sätts i samband med Johnsons eget liv; eftersom detta ligger till grund för Romanen om Olof är den biografiska kontexten av stor vikt då man diskuterar verklighetsförankringen i sagorna. En enkel översikt över sagobegreppet och Johnsons sagors relation till den muntliga folkdiktningen presenteras även. Att Johnsons sagor är realistiska har en dubbelbottnad innebörd; dels är de realistiska på så vis att de skildrar romanpersonernas andliga verklighet, något som för Johnson är omöjligt att göra i någon annan form. De är även realistiska på så sätt att de fungerar som omvägar till den sanning som är så pass känslomässigt laddad, att den blir för svår att konfrontera i klarspråk. Uppsatsen avslutas med en analys av den första sagan i ordningen, Sagan om dimman och lungsoten. Denna analys är ett försök att konkretisera de slutsatser som gjorts genom uppsatsen.

This report develops a method for probabilistic conceptual sensor modeling. The idea is to generate probabilities for detection, recognition and identification based on a few simple factors. The focus lies on FLIR sensors and thermal radiation, even if discussions of other wavelength bands are made. The model can be used as a hole or some or several parts can be used to create a simpler model. The core of the model is based on the Johnson criteria that uses resolution as the input parameter. Some extensions that models other factors are also implemented. In the end a short discussion of the possibility to use this model for other sensors than FLIR is made.

<p>Miles Davis, never one for self-effacing humility, took his boasting to new heights when he proclaimed in a <i>Rolling Stone</i> interview from December 1969, "I could put together the greatest rock and roll band you ever heard." Most critics agree that <i>A Tribute to Jack Johnson</i>, recorded between February and April of 1970, was his attempt to do just that. The album featured an ensemble that was closer to a rock power trio than a jazz quintet, musicians who were as schooled in rock and R&B as in jazz, and a prominent use of emerging instrument and studio technologies previously unheard in Davis's music. In highlighting these stylistic markers, <i>A Tribute to Jack Johnson</i> made definitive the musical transition that Davis's immediately preceding works had set in motion. </p><p> Though few fans of the era would have been surprised by Davis's invocation of the value-laden vocabulary of "greatness" in describing his music, many were taken aback by his desire to associate with rock and roll. For a musician trained in the jazz tradition and revered as a master of the genre, the intentional incorporation of influences from popular music was viewed by many jazz listeners as nothing short of heretical. What did it mean, then, for Davis to make such a claim - and such an album - at the particular time that he did? </p><p> To address these two questions, I investigate in my dissertation the production, circulation, and reception of both the stand-alone album <i>A Tribute to Jack Johnson</i> and the documentary film for which parts of the album were initially the soundtrack. Combining my training in music with scholarly perspectives on identity politics, technology studies, film studies, and African American social and political history, I demonstrate how this recording comprises both a signal incursion into accepted jazz practice, and a unique window onto vital debates around jazz, popular culture, and identity constructions in the U.S. in the early 1970s. This dissertation thereby offers one approach for continuing the critical re-evaluation of fusion jazz that has prominently been in progress since the late 1990s.</p> / Dissertation

Reproduction de : Thèse d'exercice : Médecine vétérinaire : Toulouse 3 : 2008. / Titre provenant de l'écran-titre. Bibliogr. p. 91-97.

Thesis (Ph. D.)--Indiana University, 1914.

Thesis--University of Michigan. / Includes bibliographical references (vol. 1, leaves 408-421).

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xi, 107 p.; also includes graphics. Includes abstract and vita. Advisor: Antoinette Miranda, College of Education. Includes bibliographical references (p. 94-107).

Thesis (Ed. Spec.)--University of Wisconsin--Stout, 2003. / Includes bibliographical references.

Side-by-side, surprisingly, in the appendix of the Buffalo Historical Society’s publication Obsequies of Red Jacket at Buffalo, E. Pauline Johnson and Walt Whitman memorialize Red Jacket’s reburial on October 9, 1884, with their respective poems, “The Re-interment of Red Jacket” and “Red Jacket, (From Aloft.).” Through this textual showdown, this report interrogates the usefulness of the vanishing Indians narrative, instead interpreting the event as the locus of a heterogeneous, spiritual contest over bodies and their potential significations. Although orchestrated by Buffalo’s European American elites, the reburial also included representatives from the Six Nations tribes, among them Mohawk Ely S. Parker as well as Johnson. Paying attention to heterogeneity, whether differences in religion, tribal affiliation or class, at the event allows us to understand the varying stakes of the conflict, from debates over Christianity to immigration to the establishment of literary and social relations. While Whitman, nearing the end of his life, contemplates proper memorialization in “Red Jacket, (From Aloft.),” Johnson deploys the elegy to lay claim to her Native ancestry and burgeoning literary career. Monumentalizations often attempt to conceal such heterogeneity by creating the illusion of a dominant, national narrative. Alive within these events, nevertheless, a different image persists, one that preserves the messy debates over religion, land settlement, immigration, citizenship and transforming Native governments that actual memorialization ceremonies create. / text

In decision analysis, continuous uncertainties (i.e., the volume of oil in a reservoir) must be approximated by discrete distributions for use in decision trees, for example. Many methods of this process, called discretization, have been proposed and used for decades in practice. To the author’s knowledge, few studies of the methods’ accuracies exist, and were of only limited scope. This work presents a broad and systematic analysis of the accuracies of various discretization methods across large sets of distributions. The results indicate the best methods to use for approximating the moments of different types and shapes of distributions. New, more accurate, methods are also presented for a variety of distributional and practical assumptions. This first part of the work assumes perfect knowledge of the continuous distribution, which might not be the case in practice. The distributions are often elicited from subject matter experts, and because of issues such as cognitive biases, may have assessment errors. The second part of this work examines the implications of this error, and shows that differences between some discretization methods’ approximations are negligible under assessment error, whereas other methods’ errors are significantly larger than those because of imperfect assessments. The final part of this work extends the analysis of previous sections to applications to the Project Evaluation and Review Technique (PERT). The accuracies of several PERT formulae for approximating the mean and variance are analyzed, and several new formulae presented. The new formulae provide significant accuracy improvements over existing formulae. / text