Les débats entre historiens qui étudient l’époque féodale, Xe-XIIe siècle, portent sur la seigneurie castrale, son apparition, son développement, mais avec un présupposé : l’apparition des châteaux traduit la crise de l’autorité publique, son éparpillement entre les mains de l’aristocratie pour laquelle les châteaux deviennent des instruments de domination, l’an Mil marquant une étape décisive de ce processus. Cette thèse tente d’apporter des éléments de discussion par l’étude du phénomène castral : la formation des châteaux, les autres formes de fortifications, leur rôle, leur évolution. Leur implantation et leurs fonctions permettent d’apporter un nouvel éclairage sur ce qu’est une châtellenie, et sa mise en perspective sur le long terme, depuis le premier millénaire. L’évolution de la villa en seigneurie rurale constitue un chapitre qui tente de comprendre ce qu’est une seigneurie, ses droits et ses fonctions, et les divers acteurs de la création des seigneuries. Dans une deuxième partie, l’étude des familles gravitant dans les châteaux et dans leurs ressorts permet d’apporter des éléments nouveaux sur l’origine des nouveaux comtes, des seigneurs de châteaux et des garnisons castrales. Elle s’intègre directement dans le débat sur la chevalerie : hommes nouveaux, soldats de fortune, ou héritiers de l’aristocratie carolingienne. Les comportements familiaux sont aussi étudiés, et les évolutions entre cousinages et lignages. Ils sont impactés par l’extension des liens féodo-vassaliques qui concernent de plus en plus tous les aspects de la vie, les héritages et les biens allodiaux. L’étude de l’évolution de la société « féodale » tente d’éclairer le passage du château, détenteur de la puissance publique, au château, résidence d’une aristocratie et point de crispation de la part des populations rurales dès le XIVe siècle. Elle cherche à établir s’il y a bien eu une « mutation » féodale à la veille de l’an Mil, ou s’il s’agit d’un processus évolutif sur le long terme. / The debates between historians who study the feudal period,10th-12thc., relate on the seigneurie castrale, its appearance, its development, but with one presupposition: the appearance of the castles translates the crisis of public authority, its scattering in the hands of the aristocracy for which the castles become instruments of domination, the year 1000 marking a decisive stage in this process. The thesis tries to bring elements of discussion by the study of the castle phenomenon formation of the castles, the shapes of the fortifications, their role, their evolution. Their establishment and their functions make it possible to bring a new light on what is a châtellenie, and its setting in prospect in the long term, since the first millenium. The evolution of the villa to seigneurie rurale constitutes a chapter which tries to understand what is a seigneurie, its rights and its functions, and the various actors of the creation of the seigneuries. In a second part, the study of the families evolving in the castles and their resorts makes it possible to bring new elements on the origin of the new counts, the lords of castles and the garrisons of the castles. It is integrated firmly in the debate on knighthood : new men, soldiers of fortune, or heirs to the Carolingian aristocracy. The behavior of the families is also studied, and the evolutions between kinships. They are impacted by the extension of the feodo-vassalic links which relate more and more to every aspect of life, inheritances and freehold possessions. The study of the evolution of the “feudal” society tries to clarify the passage from the castle, holder of the public power, to the castle, residence of an aristocracy and locus of tenseness by the rural populations as soon as the14th century. It seeks to establish if there were actually a feudal “change” on the eve of the year 1000, or if it was an evolutionary process on the long term.

<div> <div> <div> <p>Medieval fairies are chaotic and perplexing narrative agents—neither humans nor monsters—and their actions are defined only by a characteristic unpredictability. My dissertation investigates this fairy chaos, focusing on those moments in a premodern romance when a fairy or group of fairies intrudes on a human community and, to be blunt, makes a mess. I argue that fairy disruption of human ways of thinking and being—everything from human corporeality to the definition of chivalry—is often productive or generative. Each chapter examines how narrative fairies upset medieval English culture’s operations and rules (including, frequently, the rules of the narrative itself) in order to question those conventions in the extra-narrative world of the tale’s audience. Fairy romances, I contend, puzzle and engage their audiences, encouraging readers and hearers to think about and even challenge the processes of their own society. In this way, my research explores the interaction between a text and its audience—between fiction and reality—illuminating the ways in which premodern narratives of chaos and disruption encourage readers and headers to engage in a sustained, ethical consideration of the world. </p> </div> </div> </div>

Tim Burtons films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. In this project, I argue that Burtons film <i>Sleepy Hollow</i>, an adaptation of Washington Irvings Legend of Sleepy Hollow, expresses his artistic message, that imagination and the irrational are equally valuable lenses through which to view the world as scientific process and reason are, while simultaneously complicating the thematic concerns of the longstanding myth of the headless horseman, the supernatural versus the natural and the irrational versus the rational, and relating them to his personal anxieties about the parent child relationship. I do so by drawing parallels between the film and its immediate source as well as <i>Sir Gawain and the Green Knight</i>, another chapter in the headless horseman myth, and two horror films from the 1960s. I compare the narrative structure, character relationships, thematic concerns, and cultural anxieties expressed in both the film and <i>Sir Gawain and the Green Knight</i> to demonstrate that the film argues for a worldview allowing the natural and the supernatural and the rational and the irrational to coexist. I also point to the visual references Burton makes to scenes from Roger Cormans <i>The Pit and the Pendulum</i> and Mario Bavas <i>La Maschera del Demonio</i>, illustrating the manner in which they complicate the myths thematic concerns. My argument adds to Hand and McRoys assertion that horror film adaptations are a form of myth-making and to the growing sense that there is more to Burtons art than flashy visuals.

Tim Burtons films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. In this project, I argue that Burtons film <i>Sleepy Hollow</i>, an adaptation of Washington Irvings Legend of Sleepy Hollow, expresses his artistic message, that imagination and the irrational are equally valuable lenses through which to view the world as scientific process and reason are, while simultaneously complicating the thematic concerns of the longstanding myth of the headless horseman, the supernatural versus the natural and the irrational versus the rational, and relating them to his personal anxieties about the parent child relationship. I do so by drawing parallels between the film and its immediate source as well as <i>Sir Gawain and the Green Knight</i>, another chapter in the headless horseman myth, and two horror films from the 1960s. I compare the narrative structure, character relationships, thematic concerns, and cultural anxieties expressed in both the film and <i>Sir Gawain and the Green Knight</i> to demonstrate that the film argues for a worldview allowing the natural and the supernatural and the rational and the irrational to coexist. I also point to the visual references Burton makes to scenes from Roger Cormans <i>The Pit and the Pendulum</i> and Mario Bavas <i>La Maschera del Demonio</i>, illustrating the manner in which they complicate the myths thematic concerns. My argument adds to Hand and McRoys assertion that horror film adaptations are a form of myth-making and to the growing sense that there is more to Burtons art than flashy visuals.

In recent years the history of the garden has enjoyed increased attention within scholarly circles. Of particular interest is the history of the formation of the Picturesque garden. The ideas of three men, Richard Payne Knight, Uvedale Price, and Humphry Repton, are central to the evolution of Picturesque theory as related to the garden. The conflict among them has become known as the Picturesque Controversy. Due to misguided interpretations by modern scholars, however, the essence of the dispute has been obscured. Through a discussion of the development of Picturesque theory and a comparison of the actual points of difference between the above mentioned theorists, this paper proposes to expose the essential elements of the debate. It also demonstrates that, while all three participants are attempting to reach beyond the practices of their own century, it is Humphry Repton who distinguishes himself as the true herald of modern society and its attitude toward the garden.

Co-located measurements of acoustic backscatter and temperature/velocity microstructure are used to confirm theoretical predictions of sound scatter from oceanic turbulence. The data were collected with a torpedo-shaped vehicle carrying four shear probes and two thermistors on its nose, and forward-looking 44.7 and 307 kilohertz echosounders (mounted 20 centimetres below the turbulence sensors). The vehicle was towed through the stratified turbulence that forms tidally over the lee side of a sill in a British Columbia fjord. Conventional downward-looking echosounder measurements were also made with a 100 kilohertz sounder mounted in the ship’s hull. Populations of amphipods, euphausiids, copepods and gastropods were present in the fjord (sampled with 335-micrometre mesh vertical net-hauls) and could be seen in the sounder data. These plankton net-hauls indicated that there were too few zooplankton in the turbulent regions to account for the scattering intensity. At both 44.7 and 307 kilohertz, scatter that is unambiguously correlated with turbulence was observed. Turbulent scatter is much stronger at the higher frequency, illustrating the mportance of salinity microstructure—long neglected in turbulent scattering models—and shedding some light on the form of the turbulent temperature-salinity co-spectrum. The turbulent temperature-salinity co-spectrum has never been measured directly. Although several models have been proposed for the form of the co-spectrum, they all produce unsatisfactory results when applied to the turbulent scattering equations (either predicting negative scattering cross-sections in some density regimes or predicting implausible levels of correlation between temperature and salinity at some scales). A new co-spectrum model is proposed and shown to be not only physically plausible in all density regimes, but also in reasonable agreement with the scattering data. At 307 kilohertz, the backscatter is mostly from salinity microstructure and, depending on the strength of the stratification, can be as strong as—or stronger than—the signal from a zooplankton scattering layer. This could easily confound zooplankton biomass estimates in turbulent regions. The two targets’ different natures (discrete targets versus a volume effect) often allow them to be distinguished even when they occur simultaneously. The key is sampling the same targets at multiple ranges. At long-range, discrete targets have a constant volume scattering strength proportional to their number density. The sampling volume, however, decreases as the targets approach the sounder. At some range there will be only one (or no) target in the sampling volume and the volume scattering strength will increase (or disappear) as the target continues to near the sounder. Turbulence, as a volume scattering effect, has no range dependence to its volume scattering strength. Thus, by examining the scattering nature at close range we can distinguish discrete targets (like zooplankton) from turbulence.

Syftet med uppsatsen är att analysera hur filmmusiken har använts i Batman: The Movie (1966), Batman (1989) och The Dark Knight (2008). Att se en narrativ användning och beskrivning av Batman samt hur upplevelsen av filmen ändras när man ser den utan musik. Kompositörerna till filmerna är, för Batman: The Movie (1966) Nelson Riddle, till Batman (1989) är det Danny Elfman och till The Dark Knight (2008) är kompositörerna Hans Zimmer och James Newton Howard. Filmerna analyserats från ett multimodalt perspektiv och delar in filmmusiken i filmmusikens berättarfunktioner framtagna av Johnny Wingstedt Scenerna har setts på flera gånger både med och utan musik för att få fram musikens roll och betydelse. En scen per film analyseras. Scenerna är valda på så sätt att de beskriver Batman som karaktär på ett bra sätt. Scenerna beskrivs tydligt och en analys görs innan det avslutas med en konklusion. Scenerna jämförs sedan med varandra för att se likheter och skillnader.

This diploma thesis "The Military and Hospitaller Order of Saint Lazarus of Jerusalem - History and Nowadays"deals with the origins, historical evolution and activities of this order. This international Christian ecumenical order of knights operates with his activities in charitable, humanitarian, medical and educational field. The introduction of the thesis deals with cultural, social and political situation, which was the reason of formation of the order and also briefly shows the internal organization and structure of the order. The next chapter maps the contemporary history of the order and current situation abroad and in the Czech Republic, which is tainted by the dispute about grand master. In the end the thesis deals with activities of the order in the field of social activities. Powered by TCPDF (www.tcpdf.org)

I denna uppsats undersöks den visuella gestaltningen av Gotham City i regissören Christopher Nolans The Dark Knight Trilogy med hjälp av en komparativ analysmetod. De berättelser som utspelat sig i Gotham och Batmans relation till staden har genom åren givit den en viss karaktär. Gotham har framförallt varit platsen där brott begås och Batman bekämpar dem. Dessa karaktärsdrag har i ett antal filmer gestaltats av en mängd olika personer inom i stort sätt alla visuella medier som existerar, alla med sin egen vision av hur staden ser ut. I tidiga filmtolkningar så var gestaltningen av staden återhållsam medan den i senare gestaltats som en dystopisk mardröm. När Nolan tog sig an Batmans värld valde han istället att förankra sin vision i realismen. Men när trilogin ses i sin helhet blir det tydligt att gestaltningen av staden skiljer sig åt mellan filmerna och att varje film visar upp en ny sida av den. Med en syn på Nolans konstnärskap som grundar sig i auteurteorin men med urban studies som huvudsakliga teoretiska perspektiv undersöks i denna uppsats hur gestaltningarna av staden skiljer sig åt mellan filmerna, hur dessa skillnader påverkar vår uppfattning av staden och filmernas narrativ samt i vilket utsträckning gestaltningarna är ett resultat av Nolans vision.

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