Dans l'Espagne des XVIe et XVIIe siècles, le peintre est un personnage en construction. Souvent défini par l'idéologie qui le commande et les œuvres qui lui survivent, son geste semble perdu à jamais, ou figé sous la forme d'archétypes et d'allégories. L'autoportrait, genre naissant, témoigne de cette main, mais il reste loin de toute objectivité : " Le peintre, peintre de lui-même, dans la dépendance de ce que l'histoire charrie et porte, n'aurait-il été qu'un singe savant et dressé qui rabâche ? ", se demande Pascal Bonafoux en conclusion de son étude sur Les peintres et l'autoportrait. Même dans le reflet direct que l'artiste offre de lui-même, les topiques s'immiscent : ils aident à son identification, au déchiffrage des chefs-d'œuvre et au balisage des chemins de la gloire. Cependant, ces figures ont une vie, et elles échappent parfois à l'évidence qu'on leur prête. À commencer par saint Luc, personnalité a priori idéale pour conduire les peintres vers la reconnaissance attendue dans l'élan contre-réformiste, mais qui doit compter avec Apelle, le maître grec dont l'excellence retentit depuis un sommet convoité. Ces légendes se diversifient et se ramifient dans le jeu métaphorique des mots, elles évoluent au gré de la revendication théorique et dévoilent leurs limites au moment de prendre corps. Leur fréquence, leur intensité et leurs croisements témoignent des voies empruntées afin de saisir le personnage du peintre, non pas sa psychologie, mais sa stature, libérale et noble. La focalisation sur la patte du peintre mythique, qui pousse dans l'ombre celle du singe imitateur, éclaire l'avancée de l'artiste dans le Siècle d'Or de la peinture espagnole.

Water resources in South Africa are scarce, and should therefore be protected against pollutants, also from persistent organic pollutants (POPs). This is emphasised by the Stockholm Convention on POPs, which aims at reducing and ultimately eliminating POPs. South Africa signed and ratified the treaty, and it became international law on 17 May 2004. POPS are highly stable, toxic, hydrophobic and lipophilic compounds, with the ability to accumulate in biological tissues. Previous research had shown that dioxin-like POPS are present in the aquatic environments of South Africa, with the highest concentrations of these substances measured in industrialised areas of South Africa. The present study aimed at investigating the extent of polychlorinated dibenzo-para-dioxin (PCDD), polychlorinated dibenzo-furan (PCDF) and polychlorinated biphenyl (PCB) pollution in the Vaal Triangle, by targeting aquatic sediments and biota. Sediment samples were collected from the Blesbok Spruit, Taaibos Spruit, Leeu Spruit and Suikerbosrand River, and fish tissue samples were collected from Blesbok Spruit and Suikerbosrand River, to determine bio-accumulation. The samples were extracted with organic solvents, cleaned-up and fractionated. Raw extracts and fractions were analysed with the H4IIE-luc reporter gene bio-assay. This bio-assay is a rapid, sensitive and relatively cost-effective method, which measures the effects of dioxin-like compounds on rat hepatoma cells, transfected with firefly luciferase gene. Selected samples were analysed with gas chromatographylmass spectrometry (GCIMS) to confirm results. Only one site had quantifiable amounts of dioxin-like substances in the sediment, measured to be 52.35 ng/kg [Effective Concentration 50 (EC 50)]. This value exceeds many of the European and USA quality guidelines, proposed for sediments. No dioxin-like substances were found in fish tissues. The absence of PCDD/Fs and PCBs in aquatic sediments and fish tissues from the Vaal Triangle area might be due to the climatic conditions of the area, dilution effects in streams, and degradation of these compounds by UV-radiation and microbial organisms. / Thesis (M. Environmental Science (Water Science))--North-West University, Potchefstroom Campus, 2007.

Water resources in South Africa are scarce, and should therefore be protected against pollutants, also from persistent organic pollutants (POPs). This is emphasised by the Stockholm Convention on POPs, which aims at reducing and ultimately eliminating POPs. South Africa signed and ratified the treaty, and it became international law on 17 May 2004. POPS are highly stable, toxic, hydrophobic and lipophilic compounds, with the ability to accumulate in biological tissues. Previous research had shown that dioxin-like POPS are present in the aquatic environments of South Africa, with the highest concentrations of these substances measured in industrialised areas of South Africa. The present study aimed at investigating the extent of polychlorinated dibenzo-para-dioxin (PCDD), polychlorinated dibenzo-furan (PCDF) and polychlorinated biphenyl (PCB) pollution in the Vaal Triangle, by targeting aquatic sediments and biota. Sediment samples were collected from the Blesbok Spruit, Taaibos Spruit, Leeu Spruit and Suikerbosrand River, and fish tissue samples were collected from Blesbok Spruit and Suikerbosrand River, to determine bio-accumulation. The samples were extracted with organic solvents, cleaned-up and fractionated. Raw extracts and fractions were analysed with the H4IIE-luc reporter gene bio-assay. This bio-assay is a rapid, sensitive and relatively cost-effective method, which measures the effects of dioxin-like compounds on rat hepatoma cells, transfected with firefly luciferase gene. Selected samples were analysed with gas chromatographylmass spectrometry (GCIMS) to confirm results. Only one site had quantifiable amounts of dioxin-like substances in the sediment, measured to be 52.35 ng/kg [Effective Concentration 50 (EC 50)]. This value exceeds many of the European and USA quality guidelines, proposed for sediments. No dioxin-like substances were found in fish tissues. The absence of PCDD/Fs and PCBs in aquatic sediments and fish tissues from the Vaal Triangle area might be due to the climatic conditions of the area, dilution effects in streams, and degradation of these compounds by UV-radiation and microbial organisms. / Thesis (M. Environmental Science (Water Science))--North-West University, Potchefstroom Campus, 2007.

Mémoire (M.Ling.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

Zvolil jsem si téma etiky ve filmu Slib (1996) tvůrců Jeana-Pierra Dardennea a Luca Dardennea jakožto příkladovou studii užití filozofie, v tomto případě filozofie francouzského filozofa Emmanuela Levinase (1906–1995), a jak jeho filozofie ovlivňuje všechny aspekty vyprávění. Ačkoliv se nejedná o jedinou možnou interpretaci jejich díla, myšlenky Levinase jsou nejvíce relevantní jak pro příběh, tak i pro vyšší intelektuální cíle filmu. Zde je jeho pojem etiky jádrem postav a vyprávění až do bodu, kde se film sám o sobě stává testem pro přijatelnost Levinasovy filozofie, jako myšlenkového experimentu ve filmové podobě. Přijatelnost Levinasovy filozofie zůstává na konci filmu neprokázána. I přes filozofické a vyprávěcí nedostatky je Slib dobrým příkladem užití filozofie ve filmu, v jehož lepších částech se ukazuje síla tohoto přístupu, nicméně v horších částech můžeme vidět nebezpečí, které z tohoto přístupu vychází. V následujících filmech je zřejmé, že se bratři Dardenneové poučili ze svých chyb.

Made available in DSpace on 2013-08-07T18:47:13Z (GMT). No. of bitstreams: 3 000408665-Texto+Completo+Parte+A-0.pdf: 12602194 bytes, checksum: c4531e120dcc139b72d6df53cd955676 (MD5) 000408665-Texto+Completo+Parte+B-1.pdf: 13185124 bytes, checksum: c04e2676f6c1319ef1148630aef2297f (MD5) 000408665-Texto+Completo+Parte+C-2.pdf: 7355739 bytes, checksum: b32b864b8d394a150ad347c66c1ee3ac (MD5) Previous issue date: 2008 / The following dissertation analyses index sequences that reffers to Dante’s work, beginning with the cinematographic translation of the poem “Divina Commedia” called “Our Song”, by J-L Godard. On the path between these two works, the visual universe of “Hell” had several translations based on the imaginary of the time they were produced. Each work has innumerable pieces of the ones preceded; in a phenomenon Cañizal calls Abyss Perspective. In order to study the image trajectory, we used the concept of imaginary discussed by authors such as Maffesoli, Durand, Machado da Silva and the concept of Collateral Experience discussed by Peirce. / Este trabalho analisa uma sucessão de índices que remetem à obra de Dante, tendo como elemento desencadeador uma tradução cinematográfica do poema “Divina Comédia”, chamada “Nossa Música”, feita pelo cineasta J-L Godard. No trajeto entre as duas obras, o universo visual do “Inferno” teve incontáveis traduções do imaginário da época em que foram produzidas. Cada obra contém fragmentos das que as antecederam, fenômeno a que Cañizal chama de Perspectiva em Abismo. Para estudar o fenômeno aplicado à trajetória das imagens, usou-se concepções de imaginário de autores como Maffesoli, Durand e Machado da Silva e da Experiência Colateral de Peirce.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:32:40Z (GMT). No. of bitstreams: 1 Maria_JoaoPauloMiranda_M.pdf: 42490477 bytes, checksum: da5eeddc5e6cbb844d4939a310c2be54 (MD5) Previous issue date: 2010 / Resumo: O trabalho investiga a transformação estética no cinema de Jean-Luc Godard, analisando antes, durante e pós o grupo Dziga Vertov, encabeçado por Jean-Luc Godard e estudantes maoístas. A mudança estética de Godard é notada por muitos, contudo há escassez de estudos detalhados sobre a influência dos anos do Grupo Dziga Vertov. Portanto, este trabalho enfoca as principais características antes do grupo, relacionando-as às mudanças de posicionamento ocorridas durante o período de atuação do Dziga Vertov. Descreve, ainda, como estas alterações resultaram no cinema atual desenvolvido pelo cineasta, que aborda com maior profundidade novas ligações entre as imagens em movimento. Sob esse aspecto, o cineasta se coloca como um dos únicos da área que alcança tal façanha / Abstract: This work investigates the aesthetic transformation in Jean-Luc Godard' Movies, analyzing before, during and post the Dziga Vertov Group, headed by Jean-Luc Godard and maoist students. Change aesthetics of Godard is noticed by many, but there is a shortage of detailed studies on the influence of Dziga Vertov group' years. Therefore, this work focuses on the main characteristics before Group, relating to changes of positioning occurring during the period of Dziga Vertov' action. Describes, yet, how these changes have resulted in current cinema developed by filmmaker, which deals with greater depth new connections between the moving images. In this sense, the filmmaker is the unique in the area that reaches such a feat / Mestrado / Mestre em Multimeios

Le traité Péri Parrhêsias (PHerc. 1471) de Philodème de Gadara représente une source majeure pour la compréhension de la parrhêsia épicurienne. Malgré l’état fort dégradé du papyrus, cependant contrebalancé par les ébauches d’éditions transmises par Henry, l’éditeur actuel, et par les résultats de la recherche bibliologique effectuée par White, une interprétation thématique du manuel Péri Parrhêsias, Sur la franchise, a été rendue possible, de telle sorte qu’elle peut désormais servir de fondement pour examiner la place de la parrhêsia dans les Actes des apôtres. En comparant la manière dont Luc utilise la parrhêsia avec celle de Philodème, il apparaît que la première s’appuie sur la seconde, tous les thèmes philodémiens étant présents dans quasiment toutes les péricopes lucaniennes. Néanmoins, Luc adapte la parrhêsia à son propre projet narratif, tout en lui donnant un rôle stratégique pour décrire l’expansion de l’évangile jusqu’aux extrémités de la terre. / The Peri Parrhêsias treatise (PHerc. 1471) of Philodemus of Gadara represents a major source for the comprehension of Epicurean parrhêsia. In spite of the extremely deteriorated condition of the papyrus, nevertheless compensated by the draft editions transmitted by the current editor, Henry, and by the results of the bibliological research effectuated by White, a thematic interpretation of the manuel Peri Parrhêsias, On frankness, has been made possible, in such a way as to provide henceforth a basis to examine the role of parrhêsia in the Acts of the Apostles. When comparing the manner in which Luke employs parrhêsia with that of Philodemus, it is apparent that the first relies on the latter, all of the Philodemus themes being present in practically all of the Lucan pericopae. However, Luke adapts the parrhêsia to his own narrative project, all while giving it a strategic role in describing the expansion of the Gospel unto the end.

Dans l’Espagne des XVIe et XVIIe siècles, le peintre est un personnage en construction. Souvent défini par l’idéologie qui le commande et les œuvres qui lui survivent, son geste semble perdu à jamais, ou figé sous la forme d’archétypes et d’allégories. L’autoportrait, genre naissant, témoigne de cette main, mais il reste loin de toute objectivité : « Le peintre, peintre de lui-même, dans la dépendance de ce que l’histoire charrie et porte, n’aurait-il été qu’un singe savant et dressé qui rabâche ? », se demande Pascal Bonafoux en conclusion de son étude sur Les peintres et l’autoportrait. Même dans le reflet direct que l’artiste offre de lui-même, les topiques s’immiscent : ils aident à son identification, au déchiffrage des chefs-d’œuvre et au balisage des chemins de la gloire. Cependant, ces figures ont une vie, et elles échappent parfois à l’évidence qu’on leur prête. À commencer par saint Luc, personnalité a priori idéale pour conduire les peintres vers la reconnaissance attendue dans l’élan contre-réformiste, mais qui doit compter avec Apelle, le maître grec dont l’excellence retentit depuis un sommet convoité. Ces légendes se diversifient et se ramifient dans le jeu métaphorique des mots, elles évoluent au gré de la revendication théorique et dévoilent leurs limites au moment de prendre corps. Leur fréquence, leur intensité et leurs croisements témoignent des voies empruntées afin de saisir le personnage du peintre, non pas sa psychologie, mais sa stature, libérale et noble. La focalisation sur la patte du peintre mythique, qui pousse dans l’ombre celle du singe imitateur, éclaire l’avancée de l’artiste dans le Siècle d’Or de la peinture espagnole. / In 16th and 17th century Spain, the figure of the painter is a work in progress. His gesture – often defined by the underlying ideology and by the pieces which will outlive it – seems lost forever or frozen into archetypes and allegories. The new genre of the self-portrait states the existence of the painter’s hand but without any objectivity: “Has the painter, painting himself, been nobody but a performing trained monkey rambling on?”, Pascal Bonafoux wonders in the conclusion of his study Les peintres et l’autoportrait. Topics creep in even in the direct reflection the painter offers when painting himself: they help identify him, decipher the masterpieces and mark out the way to glory. However, those topics live and sometimes escape the obviousness one tends to see in them. Starting with St Luke, who should be the ideal one to lead the painters towards the recognition expected in the wake of the anti-reformation movement, but who has to reckon with Apelles, the Greek master whose excellence resounds from a much-envied summit of fame. Those legends become diverse and ramified through the metaphoric game of language, evolve according to theoretical claims and show their limits when given substance. Their frequency, intensity and conjunctions bear witness to the ways one follows to grasp the figure of the painter – not his psychology but his stature, liberal and noble. The focus on the painter’s touch – which relegates the gesture of the copying monkey to the shadows – sheds a light on the artist’s progression in the Golden Age of Spanish Painting

The purpose of this thesis was to explore the boundary between human and other created by virtual worlds in contemporary science fiction novels. After a close reading of the three novels: Surface Detail, Existence, and Lady of Mazes, and the application of contemporary literary theories, the boundary presented itself and led to the discovery of where the human becomes other. The human becomes other when it becomes lost to the virtual world and no longer exists or interacts with material reality. Each of the primary texts exhibits both virtual reality and humanity in different ways, and each is explored to find where humanity falls apart. Overall, when these theories are applied to real life there is no real way to avoid the potential for fully immersive virtual worlds, but there are ways to avoid their alienating effects.