Filmen är ett medium som knyter samman filmskapare, filmskådespelare, medier och åskådare med varandra i intrikata relationer. Filmbolag producerar och auteurer skapar filmer, skådespelare medverkar i filmerna, medierna marknadsför såväl filmerna som filmskådespelarna och åskådare ser filmerna. Filmskaparen behöver åskådare för att kunna tjäna pengar eller bli omtalad, och behöver filmskådespelare för att få åskådare till sin film. Filmskådespelaren i sin tur behöver åskådare för att bli berömd men det kräver att det finns en film som åskådarna kan se. Skådespelaren är således beroende av det finns filmskapare. Åskådaren behöver filmskapare för att kunna se film men frågan är vad åskådaren behöver filmskådespelare till? Det är idag fullt möjligt att göra filmer utan skådespelare som fysiska aktörer på filmduken. Åskådaren behöver alltså inte filmskådespelare för att kunna se filmen, likväl är skådespelare beundrade av åskådare.        Syftet med denna uppsats är att undersöka förhållandet mellan filmskådespelare och åskådare genom att ta reda på hur en filmskådespelare konstrueras i två filmer och se hur man har uppfattat denna konstruktion. Vad är det för bild man målar upp av filmskådespelaren och hur har folk reagerat på den? Den valda filmstjärnan är Scarlett Johansson och de två filmer som kommer att studeras är Den svarta dahlian samt Lost in Translation. Min frågeställning är:       Hur konstrueras Scarlett Johanssons persona i filmerna? Hur har åskådare reagerat på Scarlett Johanssons karaktärer och skådespeleri?        Scarlett Johanssons persona i såväl Lost in Translation som Den svarta dahlian är två unga kvinnor som använder andra för sina egna syften. I det förstnämnda fallet använder Scarletts karaktär Charlotte Bill Murrays Bob som en läromästare och som en vän. I det andra fallet är Scarlett Johanssons Kay Lake mer att likna vid en femme fatale som använder Josh Hartnetts Bleichert för sexuella syften. Scarlett Johanssons filmiska persona framställs på ett tvåsidigt sätt: dels Charlotte och Kay Lake som prydliga unga damer när de uppträder som offentliga personer, dels Charlotte och Kay Lake som utmanande, ohämmade unga kvinnor när de uppträder som privatpersoner.           Responsen på Scarlett Johansson uppvisar en del variationer i hur man har talat om Scarlett och hur man har använt henne. När det gäller åsikter har man varit mestadels positiv till Scarlett Johansson i Lost in Translation medan man har varit mestadels negativ när det gäller hennes insats i Den svarta dahlian. Såväl recensenter som amatörtyckare har uttalat sig om Scarlett Johanssons utseende och hennes skådespeleri. Att jämföra Scarlett Johansson med antingen en motspelare eller hennes insats med tidigare roller har varit vanligt bland responsen.

Cox, Friedman, and Sadiraj (2008) develop a model of reciprocity, „Revealed Altruism‟, which posits that a „more generous than‟ (MGT) offer elicits a „more altruistic than‟ (MAT) response. A MGT ordering is defined by two conditions. Condition a) states that MGT is ordered by the maximum potential increase in income of the recipient, or that the more you stand to receive from an offer, the more generous it is to you. Condition b) states that the increase in maximum potential income of the recipient cannot be less than the maximum potential increase in income of the proposers. In other words, Condition b) states that an offer cannot be self-serving, but it is not specified in Cox, Friedman, and Sadiraj (2008) precisely how b) affects the MGT ordering. I propose that a violation of b) is considered self-serving and is less MGT than when b) is not violated. I then experimentally study the empirical relevance of b) using two designs that hold a) constant, comparing MGT differences implied by responses. The first design is a variant of the Lost Wallet Game (Dufwenberg & Gneezy, 2000) with a negative outside option, and the second design is a modified Investment Game (Berg, Dickhaut, & McCabe, 1995) with elements of the Dictator Game implemented by Andreoni and Miller (2002). I find no empirical support that b) affects the MGT ordering.

The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.

“Original Sin”—evocative and powerful words, but what if they were applied to one of the world’s most popular fairy tales? This thesis explores Snow White in the context of the Seven Deadly Sins and the grand fall of Adam and Eve. The forbidden fruit manifests itself in different ways, pulling the prim and proper princess into places she never could have imagined. But what of the Wicked Queen, here known as Lilith? She too feels the bite of the world’s sick sense of humor, exacting revenge on those who have wronged her. Are these poems about them? Or are they about the author? Perhaps they are both: the innocent children learn quickly of life’s cruelty, handling it with equal parts grace and selfishness. Dive into the minds of Lilith and Snow White as they explore what it means to be themselves in a world that doesn’t care if they end up happy.

This survey focuses on German-language studies of John Milton's Paradise Lost, based on a bibliography of more than 140 German-language publications dating from 1651 to the present. Its purpose is to describe and evaluate these studies and to make their arguments accessible to readers who have difficulties locating, obtaining, and/or reading these texts.Chapters 1-4 give an account of Milton's reception in Germany and Switzerland. Topics discussed include the evaluation of Milton as poet and man, the influence of Milton's Paradise Lost on the development of German literature (Klopstock's Messias), early Milton studies, German translations of Milton's Paradise Lost, the teaching of Milton's works in Germany, and the evaluation of the poem for the present generation. Chapters 5 to 10 survey twentieth-century German-language criticism of Paradise Lost. Topics include the literary tradition; the drama plans; structure and style; cosmology and theology; and interpretations of the fall.Outstanding twentieth-century German studies include Hiibener's analysis of stylistic tension (1913); Bastian's analysis of the problem of temptation (1930); Wickert's examination of Milton's drama plans (1955); Grun's interpretation of the fall (1956); MoritzSiebeck's structural and aesthetic justification of the last two books of Paradise Lost (1963); Spevack-Husmann's examination of the relevance of the medieval tradition of allegorical and typological myth interpretation for Milton's mythological comparisons (1963); Markus's study of the parenthesis as rhetorical means of psychological influence (1965); Hagenbuchle's analysis of the fall(1969); Maier's examination of contrast and parallel as structural elements (1974); Slogsnat's exploration of the dramatical structure and tragic nature (1978); Schrey's account of Milton's reception in Germany (1980); and Klein's study of astronomy and anthropocentric in Milton's attitude towards science (1986). These studies deserve to be better known by the English-speaking scholarly community for their different points of view and their good understanding of Milton's art.Milton's Paradise Lost is still appreciated in Germany and continues to have many readers. / Department of English

David R. Gillingham, born 1947, has established himself as one of today's leading contemporary composers. His current emphasis is on music for wind band, and to date he has over sixty published works for wind band and chamber winds and percussion, representing nearly twenty-five years of composition. Gillingham has received First Prize in the International Barlow Competition in Composition and First Prize in the National Association of Wind and Percussion Instructors Commissioning Contest. Gillingham's works for wind band are performed regularly across the globe by professional and school bands, and he currently has commissions in progress scheduled through 2006.The purpose of this study was to thoroughly examine and document a descriptive analysis of three of Gillingham's works for wind band in order to observe similarities and differences in his compositional style that might prove useful as a reference to prospective conductors and scholars of Gillingham's music. The three works include Heroes, Lost and Fallen (1989), Apocalyptic Dreams (1995) and Cantus Laetus (2000). Separate chapters contain the background and analysis of each work including a comprehensive erratum. An additional chapter includes a lengthy interview transcript covering Gillingham's complete background as a practicing musician and composer, his habits, practices, and attitudes toward composing and teaching. A complete works list of all Gillingham's compositions concludes the study. This list includes compositions in all mediums for which Gillingham has written. Each entry includes the following information: title, date, commission, current publication status, instrumentation, and first performance information. / School of Music

Access to abstract restricted until 07/2016. / Eco-typology and the tree of life in Milton's Paradise lost -- The Matthew Bible, eco-typology and the tree of life in Milton's Eden -- The Geneva Bible, eco-typology and the fruit of the living word in Paradise lost -- Speed's 'Genealogies', the King James Bible and the seed of grace in the later books of Paradise lost. / Department of English

The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.

The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.

<p>We propose an approximation scheme for single-product periodic-review inventory systems with L-natural-convex structure. We lay out three well-studied inventory models, namely the lost-sales system, the perishable inventory system, and the joint inventory-pricing problem. We approximate the value functions for these models by the class of L-natural-convex quadratic functions, through the technique of linear programming approach to approximate dynamic programming. A series of heuristics are derived based on the quadratic approximation, and their performances are evaluated by comparison with existing heuristics. We present the numerical results and show that our heuristics outperform the benchmarks for majority of cases and scale well with long lead times. In this dissertation we also discuss the alternative strategies we have tried but with unsatisfactory result.</p> / Dissertation