Master of Science / Department of Psychological Sciences / Richard J. Harris / To date, no research has been conducted to establish the discourse goals accomplished through social movie quoting. In this thesis four studies were conducted to learn what discourse goals are accomplished through social movie quoting and if Roberts and Kreuz’ (1994) discourse goal taxonomy for figurative language would be a suitable theoretical framework for the study of the social movie quoting phenomenon. Study 1 examined movie quoting without being tied to any specific movie quotes. Demographic variables were correlated with common movie viewing preferences, behaviors, and attitudinal responses. Study 2 had participants generate a realistic movie quote they would actually use for accomplishing each of several specific discourse goals in conversation. Study 3 had participants generate a plain English interpretation of the movie quotes selected from Study 2. Study 4 participants rated the movie quotes and plain English equivalents generated in studies 2 and 3 for aptness and likelihood for use in conversation with the knowledge (Condition 1) and without the knowledge (Condition 2) of the underlying discourse goal. Quotes were randomized and counterbalanced so that half the participants in each condition received all movie quotes first (Group 1) and half the plain English first (Group 2). Results indicated that movie quotes were used to accomplish a set of discourse goals most similar to the traditional figures of speech of hyperbole, understatement, metaphor, and simile. The most common purposes of social movie quoting were to compare similarities and either downplay or exaggerate these similarities. Knowledge of the underlying discourse goal significantly increased the aptness and likelihood of both quote types for several discourse goals. The order of presentation did not significantly affect participants’ ratings. The aptness of the quote was strongly related to participants’ likelihood of using a particular quote, regardless of quote type. Future research should focus on capturing naturally occurring language to further increase the ecological validity of these results. It appears that the act of quoting movie lines in conversation is heavily dependent on individual preferences and a method should be developed to capture movie quoting in such a way. Suggestions for enhanced selection of movie quotes is discussed.

Cette thèse de doctorat est composée de trois chapitres traitant de l’impact des innovations technologiques sur les marchés financiers, prenant comme cas d’étude le marché des changes. Le premier chapitre analyse l’impact des innovations technologiques sur la géographie du marché des changes. Il utilise la connexion des pays au réseau sous-marin des câbles à fibre optique comme mesure de choc technologique exogène. Les estimations montrent que l’introduction des câbles à fibre optique a contribué à concentrer la répartition des activités de trading dans quelques grandes places financières au détriment de toutes les autres. Le deuxième chapitre s’intéresse à l’impact de la technologie sur la réaction des marchés des changes à de nouvelles informations macroéconomiques et financières. Il estime que le développement des technologies de l’information et de la communication permet de réduire la volatilité sur les marchés des changes de façon significative. Enfin, le troisième chapitre montre que le trading à grande vitesse contribue à atténuer les réactions de marché aux chocs macroéconomiques exogènes. Une explication possible, qui s’appuie sur un modèle théorique, est que le trading à grande vitesse augmente la dispersion des cotations de change, qui en retour accroît le temps nécessaire pour les traders pour traiter l’information contenue dans les cotations, rendant de fait le marché moins réactif à de nouvelles informations macroéconomiques et financières. Cette thèse de doctorat propose une nouvelle façon de penser et de mesurer l’impact du progrès technologique sur les marchés financiers. La première contribution est d’utiliser le réseau sous-marin des câbles à fibre optique comme choc technologique exogène et de mesurer son impact sur la géographie des marchés des changes et la volatilité. La seconde contribution est de montrer le lien entre trading à grande vitesse, dispersion des cotations et efficience des marchés, en utilisant l’entropie des cotations comme mesure du temps nécessaire pour traiter l’information contenue dans les prix et en comprendre l’impact sur l’efficience de marché. / This PhD dissertation is a collection of three essays on how technology has been shaping financial markets, using as a case study the foreign exchange market. The first chapter investigates the impact of technological innovations on the geography of the foreign exchange market. It uses as a proxy for exogeneous technological changes the connection of countries to submarine fiber-optic cables. The estimates of this chapter suggest that technology contributes to concentrating foreign exchange trading in an handful of financial centers. The second chapter studies the impact of technology on the reaction of foreign exchange markets to macroeconomic announcements. It shows that the development of Information and Communication Technologies dampens foreign exchange markets volatility. Finally, the third chapter shows that fast trading dampens market reaction to new macroeconomic information. One possible explanation, based on a theoretical model, is that fast traders increase the dispersion in exchange rate quotes, i.e. the time traders need to process new information about market prices; in turn, entropy dampens the market’s reaction to macro news. This PhD dissertation provides a new way to measure and conceptualize technological progress with regards to financial markets. The first contribution is to treat the network of submarine fiber optic cables as an exogenous technological shock to investigate the impact of technology on the geography of foreign exchange trading and on volatility. The second contribution is to show that patterns in the distribution of quotes matters in the context of fast trading. The concept of entropy in exchange rate quotes is used to characterize how fast information diffuses on financial markets and thereby to assess the implications of fast trading on market efficiency.

The thesis deals with problems of price quoting of travel packages in the Czech Republic. It refers to the process of packaging in the theoretical part, as well to various ways of pricing together with calculation illustration and catalogues price strategy. Furthermore, it shows the difference between a company's and a customer's price perception and informs about the psychological price effect on the final consumer. The important part of this thesis represents the analysis of the current situation of the price quoting of travel packages in the Czech Republic in comparison with the situation abroad. Chapters are oriented to the analysis of the legislation in the field of packaging and price quoting of travel packages, of the praxis of Czech and foreign travel agencies and of taking action of interested institutions to solve this problem. The whole thesis is supplemented with a detailed analysis of the data extracted from the questionnaire.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

This paper explores through Donna Haraway's storytelling practices feminist approaches to collaborative writing. Employing a phenomenological qualitative research approach, the thesis aims to analyze how Haraway herself exercises feminist writing and facilitates the learning of collaborative storytelling. The first research question: How does Haraway practice storytelling while simultaneously situating herself as well as others, is focused on investigating Symbiosis, Symbiogenesis and the Lively Arts of Staying with the Trouble, a chapter from Haraway's publication Staying with the Trouble: Making Kin in the Chthulucene (2016). Drawing on the qualitative analysis carried out through the process of phenomological re-telling, two case studies are presented. The two publications The Books of the Books, edited by Carolyn Christov-Bakargiev in association with dOCUMENTA (13) in 2012 and Critical Zones – The Science and Politics of Landing on Earth, edited by Peter Weibel and Bruno Latour building on the exhibition Critical Zones: Observatories for Earthly Politics in 2020 are examined in terms of their curatorial and editorial orientations in order to answer the question: How can the position of a curator perform as a multidisciplinary editor without resigning to its own singularity or acting omnisciently? In the proposed practice of a phenomological approach of re-telling, it is referred to Rosi Braidotti's remarks on the nomadic subject, along with feminist modes of (academic) writing, as motivated by scholars such as Mona Livholts and Nina Lykke. The thesis demonstrates that collaborative storytelling and writing directs the emphasis on methods of citation and referencing, just as their various possible layouts. In highlighting these, the paper also reveals the challenges of such writing to produce perceived hegemonic knowledge while not being collaboratively situated.