Background: Patients with nonallergic irritant rhinitis (NAIR) have symptoms of nasal congestion, nasal irritation, rhinorrhea, and sneezing in response to nasal irritants. We currently have no reliable objective means to quantify these patients' subjective symptoms. In this study, we used the transient receptor potential vanilloid receptor (TRPV1) receptor agonist, capsaicin, as an intranasal challenge while comparing the changes in blood flow with optical rhinometry between subjects with NAIR and healthy controls (HCs). Methods: Six HCs and 6 NAIR subjects were challenged intranasally with saline solution followed by increasing concentrations of capsaicin (0.005 mM, 0.05 mM, and 0.5 mM) at 15-minute intervals. We recorded maximum optical density (OD) and numeric analog scores (NAS) for nasal congestion, nasal irritation, rhinorrhea, and sneezing for each subject after each challenge. Correlations between NAS and maximum OD were calculated. Results: Maximum OD increased with increasing concentrations of intranasal capsaicin in NAIR subjects. There were significant differences in maximum OD obtained for 0.05 mM and 0.5 mM capsaicin between NAIR subjects and HCs. Significant differences were found in the NAS for nasal irritation at 0.005 mM, 0.05 mM, and 0.5 mM, and nasal congestion at 0.5 mM. Correlation between maximum OD and mean NAS was most significant for 0.05 mM capsaicin. Conclusion: Optical rhinometry with intranasal capsaicin challenge could prove a viable option in the diagnosis of NAIR. Further studies will investigate its use to monitor a patient's response to pharmacologic therapy and provide further information about the underlying mechanisms of NAIR.

Background: Patients with nonallergic irritant rhinitis (NAIR) have symptoms of nasal congestion, nasal irritation, rhinorrhea, and sneezing in response to nasal irritants. We currently have no reliable objective means to quantify these patients' subjective symptoms. In this study, we used the transient receptor potential vanilloid receptor (TRPV1) receptor agonist, capsaicin, as an intranasal challenge while comparing the changes in blood flow with optical rhinometry between subjects with NAIR and healthy controls (HCs). Methods: Six HCs and 6 NAIR subjects were challenged intranasally with saline solution followed by increasing concentrations of capsaicin (0.005 mM, 0.05 mM, and 0.5 mM) at 15-minute intervals. We recorded maximum optical density (OD) and numeric analog scores (NAS) for nasal congestion, nasal irritation, rhinorrhea, and sneezing for each subject after each challenge. Correlations between NAS and maximum OD were calculated. Results: Maximum OD increased with increasing concentrations of intranasal capsaicin in NAIR subjects. There were significant differences in maximum OD obtained for 0.05 mM and 0.5 mM capsaicin between NAIR subjects and HCs. Significant differences were found in the NAS for nasal irritation at 0.005 mM, 0.05 mM, and 0.5 mM, and nasal congestion at 0.5 mM. Correlation between maximum OD and mean NAS was most significant for 0.05 mM capsaicin. Conclusion: Optical rhinometry with intranasal capsaicin challenge could prove a viable option in the diagnosis of NAIR. Further studies will investigate its use to monitor a patient's response to pharmacologic therapy and provide further information about the underlying mechanisms of NAIR.

Studien utforskar ett arbetsperspektiv för produktdesigners i användningen av prototyper, och bidrar därmed till efterfrågan av mer kunskap kring prototypen som verktyg eller metod inom designområdet. Baserat på en hypotes kring appliceringen av externa teorier i utvecklingen och användningen av prototyper, utforskar studien detta genom temat entomofagi som är praktiken av att äta insekter. Studiens övergripande metodik är av kvalitativ karaktär, förstudien använder sig av desktop research, en intervju och ett studiebesök. Det efterföljande designarbetet består av två designexperiment, det första som en intervention tillsammans med en observation och det andra som en digital probe. Designexperimenten utfördes iterativt och den insamlade datan analyserades tematiskt. Insikter från dessa experiment sammanställdes och analyserades mot huvudfrågan, som lyder hur kan produktdesignerns förståelse om prototypen breddas genom ett prototyparbete grundat i provokation? Studien resulterade i en arbetsmodell för produktdesigners som arbetar med designprocesser inom området kritisk och spekulativ design. Arbetsmodellen kallas Tubkikaren, den hjälper designpraktiker att definiera utgångspunkten och avsikten bakom valet och utvecklingen av prototyper i designprocesser. Modellen bär potentialen att underlätta designprocessen och utvecklingen av prototyper på en individuell nivå, samt utgör en möjlig grund för vidare utforskning av prototyper och designmetodik. / The study explores a possibility of how product designers can work with the method prototype, and thus make a contribution to the request for more knowledge about the prototype as a tool or method within the design field. Based on a hypothesis around the application of external theories in the developement and use of prototypes, the study explores this possibility through the theme of enthomophagy which is the practice of eating insects. The overall methodology of the study is qualitative, the pilot study conducts desktop research, an interview and a study visit. The following design work consists of two designexperiments, the first one as a public intervention paired with an observation and the second as a digital probe. The designexperiments were conducted iteratively and the data collected from the these is analyzed thematically. Finally, the insights collected from the designexperiments are gathered and analyzed against the main question, which is how can designers understanding of prototypes be broadened through design work based in provocation? The study resulted in a work modell for product designers that work with design processes within the area of critical and speculative design. The work model is called the Spotting Scope, and is inspired by its namesake. It helps design practitioners to define the starting point and intention behind the choice and developement of prototypes in design processes. This model carries the potential to alliviate the design process and development of prototypes on a individual level. It also carries the potential for creating a base for further exploration of prototypes and design methodology.

Les prévalences d'asthme et d'hyperréactivité bronchique sont élevées chez les sportifs d'endurance. Une prise en charge adéquate, à l'aide de bonnes méthodes diagnostiques et d'un suivi adéquat, est essentielle dans cette population. L'hyperventilation eucapnique et la provocation bronchique à la métacholine sont couramment utilisées pour évaluer la réactivité bronchique des athlètes. Dans une optique de procéder à une évaluation optimale de leur fonction respiratoire, nous avons vérifié si le fait de procéder à ces deux provocations bronchiques l'une à la suite de l'autre pouvait influencer le résultat à la seconde. Nos données indiquent qu'il serait judicieux de les administrer lors de séances distinctes.

Cette recherche propose de construire la notion d’agression pour en faire un concept applicable à une poétique textuelle et scénique tout en tenant compte de sa dualité fondamentale. À la fois créée par l’auteur et reçue par le spectateur, elle peut être considérée comme une « action dramatisante » (Marie-Madeleine Mervant-Roux), c’est-à-dire comme un ensemble de procédés formels visant la production d’effets violents sur le spectateur. Elle a emprunté, au cours de l’histoire, différentes formes et significations que la méthodologie par « foyer de sens » (Frédéric Gros) permet de mettre en évidence. Trois variations de sens d’une même dimension du principe d’agression peuvent ainsi être identifiées : la première considère l’agression comme l’action d’introduire un désordre, un dérangement, renvoyant l’agression théâtrale à une stratégie ludique de mise en relation du spectateur avec le sacré. Elle est repérable dans le rejet platonicien de la poésie imitative de la cité, dans le Théâtre de la Cruauté d’Antonin Artaud, puis à l’ère postmoderne, dans certains spectacles usant de la performance, comme ceux de Rodrigo García. La deuxième envisage l’agression comme une action créant une instabilité éthique ou intime, assimilant l’agression théâtrale à une déstabilisation émotionnelle. Avec la Poétique d’Aristote, l’agression se pense comme un événement inattendu conditionné par un jeu de discordances et de surprises. Cette modalité est reconfigurée par Edward Bond dans les années 1960. La troisième considère l’agression comme l’action d’inciter quelqu’un à quelque chose par une attitude agressive ou une sorte de défi. L’agression théâtrale s’apparente dans ce cas à une stratégie politique dont Bertolt Brecht est l’un des grands représentants. Dialectiquement structurée, cette agression est singulièrement reconfigurée par Hanokh Levin dans les années 1970. Conditionnée par la surprise et l’inaccoutumance du spectateur, l’agression témoigne, quelle que soit sa forme, d’une abolition momentanée du cadre théâtral, d’une disparition du symbolique, dans une perspective sociale, éthique ou politique. / The purpose of my research is to construct the concept of aggression, making it applicable to textual and scenic poetics while accounting for its fundamental duality. This violence, both as created by the playwright and as received by the spectator, can be construed as a “dramatizing action” (Marie-Madeleine Mervant-Roux); in other words, as a set of formal processes aimed at producing violent effects upon the spectator. Over history, it has taken on a variety of forms and meanings that Frédéric Gros’s “foyer de sens” (“focus of meaning”) methodology makes apparent. We can thereby identify three variants in the meaning of the same dimension of the principle of aggression. The first considers aggression as the act of introducing a disorder or disruption, relating theatrical violence to a playful strategy of confronting the spectator with the sacred. It can be noted in the Plato’s rejection of poetry imitative of the city, in Antonin Artaud’s Theatre of Cruelty and, in the post-modern era, in certain productions that use performance, like those of Rodrigo García. The second variant imagines aggression as an action that creates an ethical or intimate instability. It assimilates theatrical aggression with emotional destabilization. With Aristotle’s Poetics, aggression is thought of as an unexpected event contingent upon a series of discordances and surprises. This modality was reconfigured by Edward Bond in the 1960s. The third variant sees aggression as the act of inciting someone to do something, either by assuming a threatening attitude or by challenging him in some way. In this case, theatrical aggression is akin to a political strategy, and is exemplified by the plays of Bertolt Brecht. Structured dialectically, this aggression was reconfigured in a unique way by Hanoch Levin in the 1970s. Regardless of form, aggression relies upon surprise. As a jolt to the spectator, it attests to a momentary abolition of the theatrical framework: a disappearance of the symbolic, in a social, ethical, or political perspective.

依家庭暴力防治法規定，家庭內殺人案件不論是因為不堪家庭暴力殺夫，或是出於忌妒憤而殺妻，抑或是不滿叨唸而砍殺父母，不僅係為家庭暴力事件，亦屬發生於家庭成員間最嚴重之暴力犯罪事件。在家庭暴力事件層面，不乏從家庭暴力加害人、被害人或兩造互動關係等觀點，探討家庭暴力加害人實施或家庭暴力被害人身處家庭暴力環境之原因，然以家庭暴力刑事案件層面，則聚焦於刑事司法如何評價犯罪行為人殺害家庭成員之行為，特別是兩造間具有親屬關係、犯罪動機與被害人之行為具有密切關連，或是犯罪行為人犯罪行為時受有被害人挑撥或刺激等。 惟據衛生福利部針對家庭暴力事件通報總數，法務部對於家庭暴力刑事案件新收案件、起訴率之計算，以及司法院關於家庭暴力刑事案件裁判結果等統計數據，尚無法有助於掌握我國家庭內殺人案件發生情形或犯罪情狀，是本文透過整理我國90年至104年之實務判決，以發現我國家庭內故意殺人案件之被害人參與或促發的成分，透過整理歸納家庭內殺人案件存在之被害人刺激因素之行為型態，分析現行法院面對或評價犯罪行為中之被害人刺激因素有待檢討或釐清之處，進而借鏡外國立法例關於被害人激怒抗辯規定、學說文獻對於被害人激怒抗辯部分免責理論基礎之探討，輔以外國法實務判決適用被害人激怒抗辯情形之觀察，以求立證家庭內殺人案件中關於被害人刺激因素應有利於犯罪行為人量刑。 / According to the Domestic Violence Prevention Act, the domestic murder cases, whether or not because of unacceptable domestic violence or jealousy to kill his or her spouse, or dissatisfaction with the slaughter of parents, not only for domestic violence, also occurred in the most serious violent crime among family members. Aspect of domestic violence, many scholar pay attention about the injurers of domestic violence, or the victims of domestic violence, or the interaction of the injurers and victims of domestic violence. On the other hands, the criminal justice system concerned about the behavior of defendants who kill family members, especially those who have a kinship relationship, the motive of the crime is closely related to the victim's behavior, or the defendants provoked or stimulated by the victims. Based on Government agencies publish statistical data, it still can not help master about domstic homicide cases or crime situation in our country. In order to find the factors of victims in sentence, so that we try to search the judgment of domstic homicide cases upon 1991 to 2015, and figure out the short of these judgment about the evaluation of the victims’ behavior. Further more, through the foreign legislation on the defense of provocation, and the theory about the reason of the excuse of partial defense, and the application of the defense of provocation,it could be proved that the defense of provocation from victims in domestic homicide cases should be conducive to defendants’sentencing.

« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits ». / « Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives.

Ce mémoire aborde la question des fondements moraux de la défense de provocation. Les concepts actuellement utilisés pour analyser ces fondements sont habituellement ceux de justification et d'excuse. À notre avis, la défense de provocation doit plutôt être interprétée comme une articulation particulière des principes gouvernant la détermination de la peine. Les deux premiers chapitres seront consacrés respectivement au concept de justification et d'excuse, et auront pour objet d'écarter leur paradigme de l'analyse des fondements de la défense de provocation. Le troisième chapitre montre comment il est possible de conceptualiser le moyen de défense comme une articulation des principes de détermination de la peine. / The present work addresses the question of the moral basis for the defense of provocation. The concepts used today to analyze these bases are usually those of justification and excuse. It is suggested that the defense of provocation should rather be interpreted as a particular articulation of the principles governing the sentencing. The first two chapters cover, respectively, the concepts of justification and excuse, and aim to refute the paradigms of analysis attached to each concept regarding the basis of the defense of provocation. The third chapter demonstrates that it is quite easily possible to conceptualize the defense of provocation as an articulation of the sentencing principles.

Abstract Since ancient times, warm or cold skin on the human body has been used as a parameter in evaluating health. Changes in body temperature are attributed to diseases or disorders. The assessment of body temperature is often performed to measure fever by detecting an elevated core temperature. With techniques such as infrared thermography, it is possible to perform a non-contact temperature measurement on a large surface area. The overall aim of this thesis was to contribute to a better understanding of the hand skin temperature variability in healthy persons and in persons experiencing whitening fingers (WF). The enclosed four papers discuss issues such as thermal variability response to cold stress test (CST) in repeated investigations; the specific rewarming pattern after CST; the difference between the hand’s palmar and dorsal temperatures; and evaluating skin temperatures and response to CST in participants with WF and healthy participants. All four papers used an experimental approach involving healthy males (I-III) and females (III) as well as individuals with (IV) and without WF (I-IV). Data were generated using dynamic infrared imaging before and after a CST. The radiometric images were analyzed using image analysis and statistics. The study showed that: (I) there is variability in hand skin temperature; (II) there are cold and warm hand skin temperature response patterns; (III) the skin temperatures on the palmar and dorsal sides of the hand are closely related; and (IV) a baseline hand skin temperature measurement can distinguish between whitening fingers and controls. The conclusion of this thesis is that it is necessary to engage in thorough planning before an investigation in order to choose the most adequate method for evaluating peripheral skin temperature response depending on the question asked.

Introduction. Serious violent offenders and their offending behaviour stood in focus of thisstudy. Scientific literature tends to classify offenders into non-violent or violent; however,it is known that within the area of violent crime, dimensions of offending behaviour such asgoal-directedness, provocation and planning can be expressed differently. The present studyuses these dimensions to evaluate the construct of serious violent offending by analysingdifferent cases, comparing their offending behavioural profiles and evaluating at what levelthese profiles are consistent with the common psychopathic offending behaviour.Methods. Verdicts and Preliminary investigation protocols of nine Swedish offenderslabelled as seriously violent were used to gather the information from scene investigations,autopsy reports and offender/victim interrogations in order to describe the crime history andcrime dynamics of the cases which served as a basis for assessing different dimensions,using the values from a violent incident coding sheet.Results. Cases of serious violent offending displayed heterogeneity rather thanhomogeneity in the offending behaviour. Homicide offenders demonstrated a mixed patternof behaviour compared to sex offenders who showed a more homogeneous profile withtypically goal-directed, unprovoked and impulsive behaviour, also being more consistentwith the offending behaviour commonly displayed by psychopathic offenders.Conclusion. Based on the dimensions analysed, a universal serious violent offendingbehavioural profile does not seem to exist. More criminological research with a largernumber of subjects is required, however, findings from this study make it arguable tosuggest that sex offenders might benefit from treatment focusing on improving their selfcontrolcompared to homicide offenders where aspects of emotional regulation seem to beof even greater importance. / <p>2016-05-27</p>