The diploma thesis Milan Kundera and Intertextuality deals with aspects of relations between the texts in his novels. The first part outlines the intertextuality, theory of the novel and the approaches of some literary theorists towards this issue. The second half of the thesis analyzes the intertextuality in Kundera's works in various forms, mainly based on the themes of dreams and physicality. The greatest emphasis is placed on examining the legacy of Kafka in the context of Kundera's works, particularly in the novels The Joke and The Book of Laughter and Forgetting. Powered by TCPDF (www.tcpdf.org)

Människors levnadsstandarder förbättras ständigt tack vare nya innovativa system som möjliggörs genom att sensorer kopplas upp mot internet för att i realtid producera och analysera stora mängder viktiga data om den verkliga världens tillstånd. Luftkvalitet förvärras i världen och genom datainsamling och dataanalys kan realtidsvarningar erbjudas. Meddelandemäklare introduceras i systemarkitekturer för att samla in, lagra och strukturera datamängder på ett felsäkert sätt. Problemet är att meddelandemäklare måste kunna hantera många distribuerade luftkvalitetssensorer för att tillgodose behovet av exakt representation av luftkvalitet. Kafka och RabbitMQ sattes upp med hjälp av Docker för att under experiment undersöka vilken meddelandemäklare som tillhandahöll bäst prestanda när antalet sensorer ökade. En containeriserad webbapplikation utvecklades för att i ett gränssnitt kunna definiera exekverbara experiment. Containeriserade tjänster startades under exekvering upp. Genomsnittliga data aggregerades varje sekund till en mätpunkt för realtidspresentation i webbgränssnittet. Kafka tillhandahöll lägst latens och högst genomströmningshastighet när antalet sensorer ökade. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

In the first phase of my thesis I seek to explore how novelist use the fictional architectural environments in order to propel narrative and create an immersive experience for a reader, using the well-known 1984 by George Orwell and The Castle by Franz Kafka as the primary vehicle for investigation. The thesis studies the narrative and architectural typologies, physical settings and imagined spaces used to connect the viewer to the narrative’s highly detailed world. In the second phase of my thesis, I used elements learned from this two novels and applied them to propose a building in Midtown Manhattan in New York. I chose misinformation and fake news as the my main theme in order to design a mixed use proposal as it is one of the biggest challenges of our era. I end my thesis with a comic-style story using my proposal building as the main key in the comic-strips. If the first phase is about how architecture is used in fiction, the second phase is about creating a fictional story using architecture.

In dieser Arbeit wird Die Verwandlung von Franz Kafka als akuter Schlaganfall interpretiert. Die Schwester Grete fungiert hier als pflegende Angehörige, die in der Erzählung verschiedenen Belastungen ausgesetzt ist und unterschiedliche Emotionen durchlebt. Ziel dieser Arbeit ist es herauszufinden, ob diese mit den aus der Pflegeforschung herausgearbeiteten Belastungsfaktoren und Emotionen pflegender Angehöriger übereinstimmen. Zusätzlich zu Kafkas Erzählung wird Ursula Frickers reiner Schlaganfall-Roman Außer sich analysiert. Dieser wird ebenfalls auf die Erkenntnisse der Pflegeforschung appliziert samt mit den Ergebnissen der Analyse der Erzählung von Kafka verglichen. Die Belastungsfaktoren und Emotionen von pflegenden Angehörigen, die in der Pflegeforschung hervorgehoben werden, wurden in eigene Kategorien eingeteilt, um eine übersichtliche Analyse beider literarischer Texte zu ermöglichen. Die Analyse der beiden Texte ergab, dass die pflegenden Angehörigen in sowohl Kafkas Erzählung als auch in Frickers Roman in allen analysierten Kategorien der wissenschaftlich belegten Belastungsfaktoren und Emotionen Übereinstimmungen aufwiesen. Die Texte wiesen ebenfalls Gemeinsamkeiten zueinander auf, doch gabes hier individuelle Unterschiede. Das Ergebnis dieser Arbeit zeigt, dass die Interpretation der Erzählung Die Verwandlung von Kafka als Schlaganfall-Geschichte schlüssig ist. Dies wird durch die Ergebnisse der Analyse im Hinblick auf das Erleben der Schwester als pflegende Angehörige deutlich.

本研究針對物聯網與雲端大數據分析之不同程度的通訊需求，以微服務架構為基礎，設計一個四層式物聯網與大數據平台之通訊架構。面對物聯網之即時通訊需求，本研究採用MQTT通訊協定做為解決方案，而雲端大數據分析之通訊需求則採用Apache Kafka。 本研究基於參與者模型（Actor Model）所提出之「裝置代理人」，全面的解決了物聯網中異質通訊協定所產生的複雜性，同時解決了集中式物聯網閘道器所造成的系統複雜性與效能瓶頸，使物聯網閘道器能進行分散式部署，並且共享運算資源。

As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. My doctoral thesis considers the reasons for and development of this previously little-explored trope, arguing that hunger becomes a focal point for modernism’s complex relationship to aesthetic autonomy. I identify a specific tradition of writers, beginning in the nineteenth century with proto-modernists such as Melville and Rimbaud, flourishing in the pivotal figures of Knut Hamsun, Franz Kafka and Samuel Beckett, and expiring with modernist-influenced contemporary writers such as Paul Auster and J. M. Coetzee. Although these writers are avid readers and devoted disciples of one another, mine is the first study to read them alongside one another as a coherent literary tradition. Reading them in this way, I am able to trace the development of the ‘art of hunger’ as a locus for a crisis in aesthetic autonomy that spans the twentieth century. I develop this line of argument in two phases. In the first, I trace the emergence of an art of hunger out of modernist engagements with philosophical aesthetics and its notions of aesthetic autonomy. Readings of the “art of hunger” in Herman Melville, Arthur Rimbaud, Knut Hamsun, Franz Kafka and Samuel Beckett’s post-war work reveal that starvation carries autonomy to an extreme and hyper-literal endpoint, revealing both its desirability as an aesthetic ideal and the impossibility of art’s complete autonomy from the body, the market or the social dimensions of language. In the second phase, I consider how this trope has animated later twentieth-century engagements with modernism. For authors writing in the aftermath of modernism, hunger provides a way of considering new complications to aesthetic autonomy in the light of both their debt to modernism and their specific historical circumstances. In this light, I consider three different extensions of the modernist art of hunger: its absorption into high formalism in Beckett’s late prose; its collapse in the face of an emerging concern with the social in Paul Auster; and its transformation into an ethical aesthetics of food taboos, restriction and asceticism in J. M. Coetzee.

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This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.

This thesis deals with the sociological conception of the dropout (Aussteiger) figure in Wilhelm Genazino’s Ein Regenschirm für diesen Tag (2001) and, in terms of the history of ideas, his predecessors in Heinrich von Kleist’s Michael Kohlhaas (1808) and Franz Kafka’s Die Verwandlung (1913). It discusses if and how Genazino’s protagonist represents a new contemporary dropout model, and discusses the extent to which such figures can be read as dropouts, how their individual dropout characteristics are designed and motivated, and which factors connect these central characters to each other. According to Christian Schüle and his “21 Fragmente über die Identität des Aussteigers” no one can better provide a picture of the state of a society than someone who intentionally exits from it. Thus, the essential process of dropping out is described. If someone is dropping out, he is reacting to circumstances; to what extent he reacts is, however, uneven. There is no prototype of a dropout. To grasp this highly complex and little investigated phenomenon, several sociological concepts are employed, such as assimilation, deviant behaviour, alienation, individualism and the aspect of self-realization. Niklas Luhmann’s Protest serves as another theoretical basis for the concept of dropping-out (Aussteigertum). His book focuses on how protesters choose themes that none of society’s systems would recognize as their own and thereby mirror the state of things in the society as they really are. The thesis then shows how the action of all three protagonists can be associated with these sociological concepts and how Genazino’s character in Ein Regenschirm für diesen Tag is related to previous protagonists such as Kohlhaas and Samsa. Kleist’s “gebrechliche Einrichtung der Welt” becomes the alienated world of Gregor Samsa and turns into Genazino’s “Gesamtmerkwürdigkeit des Lebens” in which melancholia and succussion bring the protagonist near to failing. The experimental setting all three authors use brings to mind the philosophical stream of Existentialism, on which they all seem to verge. Under societal pressure, all three figures begin to protest against their related situations in different ways. Because of having to submit himself to the exigencies of the society, Genazino’s protagonist feels as if he has to degenerate. To escape from these feelings he continuously walks physically through his environment and at the same time applies a philosophy of sight: as a reflective observer in the river of everyday life, as a swimmer against the tide of boredom, he drops out of society in his own way, different from the way Kohlhaas and Samsa did, but still related to them.