O tema da pesquisa da presente dissertação é investigar a poética narrativa do cineasta sulcoreano Kim Ki Duk a partir dos elementos nomeados labirintos imagéticos presentes na narrativa fílmica Time (Shigan)-2006. O ponto de partida do estudo é a análise da narrativa focalizando o trânsito entre textos e os jogos de significantes no discurso amoroso e na criação de corpos orgânicos, imagéticos, simbólicos e ficcionais. Sendo assim, foram explorados os labirintos do discurso amoroso e os labirintos do corpo como os responsáveis pela formação dos labirintos imagéticos que permeiam a narrativa fílmica em análise. Ao longo do estudo do objeto híbrido— narrativa fílmica, pontuaram-se questionamentos sobre Intertextualidade, Interdisciplinaridade, Imagem, Olhar e o objeto a. Pretendo estabelecer diálogos entre Teoria Literária, Psicanálise, Antropologia, Filosofia, Estudos Intermídias e Estudos Culturais, uma vez que a narrativa fílmica do cineasta Kim Ki Duk é tecida e mediada por elementos de uma poética dos limiares, de jogos vertiginosos das imagens e de provocação dos limites da linguagem, oscilando entre a presença e a ausência de significantes. / The theme of this thesis is discuss the visual poetic in narratives of South Korean filmmaker Kim Ki Duk through elements named mazes imagistic in film narrative Time (Shigan) -2006. The starting point of the study is the analysis of narrative focusing on transit between texts and significants in love speech also in the constructions of organic bodies, imagery, symbolic and fictional. Thereby, the labyrinths of love's speech and the labyrinths of the body were exploited, as responsible for the formation of imagistic mazes that permeate the film narrative in analysis. Throughout the study of hybrid object- film narrative, some questions emerged about Intertextuality, Interdisciplinary, Image, Gaze and the object a. I intend to establish dialogues between Literary Theory, Psychoanalysis, Anthropology, Philosophy, Intermídias Studies and Cultural Studies, since the film narrative filmmaker Kim Ki Duk create elements of a poetics of the transit of images and limits of language, through oscillations between the presence and the absence of significants.

O tema da pesquisa da presente dissertação é investigar a poética narrativa do cineasta sulcoreano Kim Ki Duk a partir dos elementos nomeados labirintos imagéticos presentes na narrativa fílmica Time (Shigan)-2006. O ponto de partida do estudo é a análise da narrativa focalizando o trânsito entre textos e os jogos de significantes no discurso amoroso e na criação de corpos orgânicos, imagéticos, simbólicos e ficcionais. Sendo assim, foram explorados os labirintos do discurso amoroso e os labirintos do corpo como os responsáveis pela formação dos labirintos imagéticos que permeiam a narrativa fílmica em análise. Ao longo do estudo do objeto híbrido— narrativa fílmica, pontuaram-se questionamentos sobre Intertextualidade, Interdisciplinaridade, Imagem, Olhar e o objeto a. Pretendo estabelecer diálogos entre Teoria Literária, Psicanálise, Antropologia, Filosofia, Estudos Intermídias e Estudos Culturais, uma vez que a narrativa fílmica do cineasta Kim Ki Duk é tecida e mediada por elementos de uma poética dos limiares, de jogos vertiginosos das imagens e de provocação dos limites da linguagem, oscilando entre a presença e a ausência de significantes. / The theme of this thesis is discuss the visual poetic in narratives of South Korean filmmaker Kim Ki Duk through elements named mazes imagistic in film narrative Time (Shigan) -2006. The starting point of the study is the analysis of narrative focusing on transit between texts and significants in love speech also in the constructions of organic bodies, imagery, symbolic and fictional. Thereby, the labyrinths of love's speech and the labyrinths of the body were exploited, as responsible for the formation of imagistic mazes that permeate the film narrative in analysis. Throughout the study of hybrid object- film narrative, some questions emerged about Intertextuality, Interdisciplinary, Image, Gaze and the object a. I intend to establish dialogues between Literary Theory, Psychoanalysis, Anthropology, Philosophy, Intermídias Studies and Cultural Studies, since the film narrative filmmaker Kim Ki Duk create elements of a poetics of the transit of images and limits of language, through oscillations between the presence and the absence of significants.

[pt] Este trabalho visa simular situações que levam uma rocha a ruptura considerando o fluxo de fluidos, em uma tentativa de correlacionar os mecanismos envolvidos na ruptura ao processo conhecido como produção de areia em rochas reservatório, ou seja, a produção de sólidos durante a extração de hidrocarbonetos. Há algum tempo este assunto tem sido tratado do ponto de vista da mecânica das rochas dada a similaridade do seu comportamento com outros fenômenos estudados nesta área. Como se trata de um processo de extração de fluidos, a sua influência deve ser considerada no comportamento mecânico da rocha. Assim, simulações numéricas, representativas de situações favoráveis a este fenômeno, foram analisadas, utilizando-se, para tal, o programa comercial de elementos finitos ABAQUS, que permite a simulação do processo de acoplamento fluido mecânico. Dada a flexibilidade demonstrada pelo pacote numérico, possibilitou-se a implementação de um modelo elastoplástico e a verificação de sua eficiência na representação do comportamento da rocha reservatório neste processo. A implementação numérica baseou-se no conhecido modelo de Lade-Kim. Este modelo é apropriado à descrição do comportamento de materiais geomecânicos granulares. Trabalhos experimentais em paralelo procuram determinar os parâmetros do modelo de Lade-Kim. Estes parâmetros são usados na análise numérica. / [en] This work aims to simulate situations that take a rock the rupture considering the fluid flow, in an attempt to correlate the involved mechanisms in the rupture to the know process as sand production in rocks reservoir, that is, solid production during hydrocarbon extraction. Numerical simulations using the commercial finite element program ABAQUS, reproduce fluid-mechanical coupling, and allowing the implementation of an elastoplastic rock material behavior. More precisely, the author implemented a numerical routine based on the well-known Lade-Kim elastoplastic model, which can suitably describe the behavior of geomaterials subjected to external stress-strain fields.

Heejo Kim (1920-2001) is one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music. However, at the same time, his efforts in choral arrangements, especially of Korean folk tunes are highly acclaimed by professional choirs and conductors. The purpose of this study is to provide performance guidance on Heejo Kim's choral work, Bat-no-rae, by presenting his biographical background, discussing the use of traditional Korean rhythmic patterns (Jangdan) and modes, and the appropriate application of traditional ornamentations.

[pt] Problemas de engenharia geotécnica onde a resistência ao cisalhamento é fator determinante para o projeto são geralmente avaliados com base no critério de ruptura de Mohr-Coulomb; no entanto, modelos constitutivos avançados são necessários para abordar grande parte de problemas geotécnicos onde estimativas de deformação são necessárias. Lade e Kim propuseram um modelo constitutivo elastoplástico avançado para investigar o comportamento tensão vs. deformação de materiais com atrito, sob condição drenada ou não drenada. Nesta dissertação, este modelo foi implementado no programa computacional de diferenças finitas FLAC3D com o objetivo de estudar o comportamento elasto-plástico de aterros. As equações governantes do modelo constitutivo de Lade-Kim são apresentadas e um algoritmo explícito de integração de tensões foi implementado na presente pesquisa. Os resultados numéricos obtidos com o modelo de Lade e Kim foram comparados com aqueles publicados na literatura, envolvendo ensaios triaxiais de laboratório realizados em areia e análises numéricas 2D do comportamento de barragem. Finalmente, após validação da implementação do modelo, análises do comportamento 2D e 3D de aterros foram executadas, verificando a influência destes tipos de análise nos valores calculados, bem como resultados numéricos foram também comparados com aqueles determinados pelo tradicional modelo elasto-plástico de Mohr-Coulomb. / [en] Geotechnical engineering problems, where the design is mainly influenced by the shear strength, can be successfully analyzed considering a traditional constitutive model; however, advanced constitutive models must be used when the estimative of deformation is an important factor to be considered. Lade and Kim proposed the Lade-Kim model in order to model a granular material stress-strain constitutive relation under different combinations of effective stress and drained or undrained conditions. In this dissertation, this model is implemented and validated in the FLAC3D finite volume program, in order to study the elasto-plastic behavior of embankments. The governing equations of the constitutive model of Lade-Kim are presented and, using an appropriate stress integration algorithm, it is implemented in FLAC3D. This procedure is validated by using experimental results of triaxial tests performed on the sand of the Sacramento River and performing two-dimensional deformation analyzes of embankments and comparing the results with the literature. Finally, the Lade-Kim model is used in two-dimensional and three-dimensional deformation analyses of embankments in order to analyze the influence of the three-dimensional condition. On the other hand, the same analyzes were carried out using the Mohr- Coulomb constitutive model in order to compare the results and analyze the efficiency of the Lade-Kim constitutive model. Thus, it is concluded that the Lade-Kim constitutive model was successfully implemented and that it provides accurate results regarding modeling geomechanical behavior under different combinations of effective stresses.

This thesis is called "Bereavement of eminent personalities: Comparison of Media Representation of Václav Havel and Kim Jong-il in the Czech Media." Its focus is on the media coverage of Václav Havel's and Kim Jong-il's death in the Czech Republic National dailies. The theoretical part deals with how mass media use and process media events, especially the one's related to the death of publicly known persons. The thesis also addresses ritual function of media events and their role in society integration. Another chapter of the thesis explains how media inform the public about deaths of well-known people and what their function is in this context. As Václav Havel was and still is called a national hero, a phenomenon of a hero and its development from history up to date is also presented in the paper. The practical part consists of quantitative content analysis which provides concrete topics that were covered by Czech dailies in regards with Václav Havel's and Kim Jong-il's death. The analysis also answers the following questions: Were there any differences in quantity of articles on each leader and the type of topics in any particular media? Did the Czech media tend to compare the personalities of Václav Havel and Kim Jong-il during their coverage? The additional qualitative analysis also examines whether...

Quel type de choses sont les raisons que nous donnons pour expliquer nos comportements ? Sont-ce des entités dans nos cerveaux causalement responsables de nos actions ? Sinon, doit-on accepter le dualisme cartésien ? Faut-il croire avec Davidson que les raisons sont des entités physiques pourtant impossibles à identifier en termes physiques ? Nous proposons une réponse alternative : les raisons sont des choses dont nous ne faisons pas l’expérience. Elles peuvent être dites guider nos actions, en vertu d’une cohérence que nous acquérons à travers le temps, en même temps qu’une identité personnelle claire. On défend donc ici la thèse wittgensteinienne selon laquelle les raisons ne sont pas des causes, et l’on cherche ce qu’elles sont positivement. Car il y a bien une différence, dans la réalité physique, entre agir pour une raison ou l’autre. Mais c’est une réalité que l’on recherche et construit, et non que l’on observe et nomme. En parlant de nos raisons, on parle avant de savoir, pour faire advenir quelque chose –quelque chose de physique, comme toute chose.On soutient ainsi contre Kim qu’il est possible de croire à la pertinence propre des raisons, tout en restant moniste, sans dommage pour la rationalité humaine.Tout ceci a d’importantes conséquences éthiques : l’évaluation des raisons et intentions n’est sensée que si elle est une tentative pour bien agir ; elle sera toujours non pertinente pour définir les actions passées, et cela remet gravement en cause la notion de mérite. Ainsi proposons-nous de concevoir la morale de façon dynamique, comme étant ce que l’on cherche toujours à rendre possible. / What kind of things are the reasons we use to explain our behavior? Are they material entities in the brain, causing actions? Are they, as Davidson says, physical entities that we cannot identify in physical terms? Are we forced to accept Cartesian dualism? This thesis proposes another answer. Reasons are not experienced. They are sought through action and conceptualization. They may be said to guide our actions, but not as events which cause actions; rather, they serve, over time, to construct coherent behavior and stable personal identity.We defend here the Wittgensteinian thesis that reasons are not causes. We show that it is consistent with monism. The difference between acting for this or that reason does exist in reality, but it is a reality that we construct and pursue, not one that we experience and name. This is because when we give reasons, we speak before knowing, in order to make something exist.Thus we argue, against Kim, that it is possible to be a monist, to defend the importance of rational explanations, and to deny the possibility of reducing reasons to causes. Indeed, the knowledge necessary to do so would be far beyond the knowledge we require to speak the language of reasons.This conception of reasons as things that we seek rather than thing that we experience has important consequences in ethics. Namely, that the evaluation of reasons or intentions only makes sense when one attempts to act appropriately; it is irrelevant in defining past actions. This means that the very idea of merit is problematic, and that morality itself is something we must constantly work to make possible.

Föreliggande studie granskar hur mordet på Kim Wall konstrueras i svenska podcasts. Mediebevakningen av fallet har kritiserats för att vara spekulativ och oetisk och det är inte bara relevant, utan av största vikt att utreda huruvida den nya medieformen podcast följer i gammelmedias fotspår. Specifikt studeras fem podcastavsnitt varav tre stycken är privatägda och två stycken är public service-ägda. Genom kritisk diskursanalys spåras hur offer och förövare konstrueras utifrån ett genus- samt medielogiskt perspektiv. Därutöver analyseras likheter och/eller skillnader i dessa konstruktioner i privatägda respektive public service-ägda podcasts. Resultatet visar att såväl offer-, förövare- och fallet som sådant konstrueras utifrån fem olika diskursiva teman. I det första temat nästintill glorifieras förövaren Peter Madsen. I det andra- respektive tredje temat reduceras Kim Wall till en samling kroppsdelar och när hennes liv och gärning väl presenteras sker det genom en ofördelaktig förbindelse till Madsen. I det fjärde temat sensationaliseras brottet genom olika, medvetna eller omedvetna, diskursiva grepp. Slutligen beskrivs vissa skeenden med någon form av ironi, sarkasm eller satir. / The present study reviews how the Kim Wall murder is constructed in Swedish podcasts. The media coverage of the case has been criticized for being speculative and unethical and it is not only relevant, but of the utmost importance to investigate whether the new media form podcast follows in the footsteps of traditional media. Specifically, five podcast episodes are studied, of which three are privately owned and two are public service-owned. Through critical discourse analysis, it is traced how victims and perpetrators are constructed from a gender and media logic perspective. In addition, similarities and / or differences in these constructions are analyzed in privately owned and public service-owned podcasts. The result shows that both the victim, the perpetrator and the case as such are constructed based on five different discursive themes. In the first theme, the perpetrator Peter Madsen is practically glorified. In the second- and third theme, Kim Wall is reduced to a pile of body parts and when her life and deed are presented, it is done through an unfavorable connection to Madsen. In the fourth theme, the crime is sensationalized by various, conscious or unconscious, discursive approaches. Lastly, some events are described with some form of irony, sarcasm or satire.

<p>Denna uppsats analyserar den medvetandefilosofiska debatten mellan Donald Davidson och Jaegwon Kim rörande Davidsons tes om det mentalas superveniens på det fysiska. Tesen utgör ett element i Davidsons generella teori om relationen mellan det mentala och det fysiska; anomal monism. Författaren frågar sig om Kim har rätt i att tesen om mental superveniens inte är tillräcklig för att garantera det mentala kausal kraft. I uppsatsen analyseras de båda filosofernas ståndpunkter i debatten med speciell tonvikt på deras respektive definitioner av superveniensbegreppet. Med utgångspunkt i detta argumenterar författarinnan att Kim i viss utsträckning kan sägas ha missförstått Davidsons superveniens-begrepp. Kim har definierat "svag" respektive "stark" och velat tolka Davidsons superveniens som tillhörande den sistnämnda sorten. Uppsatsförfattaren intar en ståndpunkt motsatt Kims och menar att Davidsons superveniensbegrepp snarare bör förstås som en variant av svag superveniens, men konstaterar samtidigt att det inte är helt säkert att dennes superveniens alls kan inordnas i någon av dessa kategorier; dessa refererar till "möjliga världar", vilka Davidson vägrar acceptera.</p> / <p>This paper analyses the debate between Donald Davidson and Jaegwon Kim concerning Davidsons idea of the supervenience of the mental upon the physical. This thought is part of Davidson's general theory of the relation between mind and body; anomalous monism. The author asks wherther Kim is right that mental supervenience is insufficient to gurantee the mental causal power. The paper analyses the standpoints of both philosophers, especially regarding their definitions of "supervenience" and argues that Kim, to some extent, can be said to have misunderstood Davidson's notion of supervenience. Kim has offered definitons of "weak" and "strong" supervenience and interpreted Davidsons supervenience as being of the kind last mentioned. The author takes a standpoint opposite of Kim's and argues that Davidson's notion of supervenience is better understood as weak supervenience, but at the same time notes that it is by no means obvious that Davidsons supervenience can be said to belong to either of these categories since these refer to "possible worlds", which Davidson refuses to accept.</p>

L'œuvre filmique relève-t-elle du "sévère exercice de dépersonnalisation" revendiqué par Gilles Deleuze dans l'invention d'une identité personnelle ? Quelles méthodes, les réalisateurs Alfred Hitchcock, Thomas Vinterberg et Kim Ki-duk inventent-ils pour représenter des femmes et des hommes soumis à des situations si intolérables qu'elles les dépersonnalisent et ce jusqu'à l'oubli de leur nom ? Enfin, quels liens peut-on opérer entre une dépersonnalisation qui relève d'une stratégie de survie déclenchée par des traumatismes d'origines diverses et, une autre, qui reflète la formidable puissance de l'acte créateur ? Ma réflexion s'inscrit à la croisée de deux formes de dépersonnalisation dont le psychanalyste Michel de M'Uzan a indiqué les destins radicalement opposés. Chacune, selon lui, s'accompagne d'affect distinct. Aussi à partir de ces différences essentielles quant à la qualité de l'émotion et à la visée, j'analyse, dans ma thèse, les modalités selon lesquelles le créateur est en mesure de nous montrer comment dévier la violence autodestructrice de l'une à la faveur de la puissance créatrice de l'autre qui, avec l'avènement de l'œuvre cinématographique, délivre l'image des empreintes terrifiantes d'un monde contemporain à la tonalité extrêmement archaïque. Tout au long de ma démonstration, les passages fréquents de la poïétique à la narration filmique m'ont permis, à la suite de la proposition de Gilles Deleuze et de la notion de créativité de Donald Woods Winnicott, d'envisager aussi la création en terme d'identité. / Does creation as something to do with the "exercise of severe depersonalization" claimed by Gilles Deleuze in the invention of a personal identity? What methods, directors Alfred Hitchcock, Thomas Vinterberg and Kim Ki-duk they invented to represent women and men subject to the conditions so intolerable that depersonalize them ? Finally, what links can be made between a depersonalization that is a survival strategy to trauma, and another that reflects the tremendous power of the creative act ? My thinking is at the intersection part of two forms of depersonalization in which the psychoanalyst Michel M'Uzan said the radically different fates. Each, he says, is accompanied by distinct affect. Also from these essential differences in the quality of the emotion and the destiny, I analyze in my thesis, the manner in which the creator is able to show us how to deflect the destructive violence of one to for the creative power of the other. Throughout my demonstration, the frequent passages between the narration and the poïesis allowed me, as a result of the proposed Gilles Deleuze and the notion of creativity Donald Woods Winnicott, to consider also creation in terms of identity.