Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-28T11:22:43Z No. of bitstreams: 1 tiagoalvesdemoraessarmento.pdf: 2832872 bytes, checksum: 2d1abd6cf6181b3c30de5468409bd60d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T14:25:06Z (GMT) No. of bitstreams: 1 tiagoalvesdemoraessarmento.pdf: 2832872 bytes, checksum: 2d1abd6cf6181b3c30de5468409bd60d (MD5) / Made available in DSpace on 2016-01-28T14:25:06Z (GMT). No. of bitstreams: 1 tiagoalvesdemoraessarmento.pdf: 2832872 bytes, checksum: 2d1abd6cf6181b3c30de5468409bd60d (MD5) Previous issue date: 2014-02-13 / Esta dissertação visa ampliar a discussão que envolve o tema do unheimlich – tal como proposto por Sigmund Freud em 1919 – e o cinema de super-heróis, classificados dentro das normas da narrativa clássica, tal como os blockbusters hollywoodianos. Ao fazermos um passeio pela teoria freudiana que resultou neste artigo – e a subsequente, onde o psicanalista amplia alguns conceitos ali introduzidos –, podemos lançar luz a uma direção que não tem sido explorada nos trabalhos dos temas: a de que o unheimlich não está vinculado apenas ao que é estranho ou assustador, e sim ao retorno do recalcado, lugar onde fantasias e desejos proliferam. Auxiliados pelas normas e características da narrativa clássica, podemos analisar, sob esta perspectiva, cenas de dois filmes do Batman, que atuam como exemplos desses elementos recalcados passíveis de retorno ao consciente do espectador. / This paper aims to broaden the discussion about the unheimlich (the uncanny) – as proposed in 1919 by Sigmund Freud – and the superhero movie genre, classified within the norms of classical narration, such as Hollywood blockbusters. As we walk throughout the Freudian theory in which his article results – and its following concepts, later published –, we may be able to follow a direction that has not been well explored before: the idea that the unheimlich is not just what is attached to what is scary and horrific, but also to the return of what is repressed, where fantasies and desires blossom. As we explore the norms and concepts of classical narration to help us in our journey, we will be able to analyze this perspective in two Batman movies, which are examples of how these repressed ideas may return to the spectator’s conscience.

L’oeuvre de Sergio Chejfec (Buenos Aires, 1956), composée de romans et de nouvelles,de nombreux essais et de deux recueils poétiques, figure parmi les propositions les plus singulières de la littérature argentine contemporaine. Entamée à la fin des années 1980, dans le contexte d’intense questionnement sur les moyens et les fins de la littérature nationale qui caractérise la période post-dictatoriale, cette oeuvre se poursuit encore aujourd’hui, désormais depuis New York. L’analyse transversale de l’oeuvre que nous proposons par la présente thèse s’appuie sur un corpus primaire de sept romans et s’organise autour des notions d’étrangeté et d’étrangèreté.La première partie s’attache à montrer que les altérations qui viennent semer le trouble dans la relation du sujet au réel ont partie liée avec la disparition de l’alter ego, qu’elles peuvent se concevoir à la lumière de la notion freudienne d’Unheimliche (« l’étrange familier »), et que s’y articule notamment la figure spectrale, en lien avec un passé – intime ou national – qui ne passe pas. L’étrangèreté géographique, sujet de la deuxième et la troisième partie, est définie comme une impossible territorialisation et se manifeste par les motifs récurrents de la marge et de l’errance. Au leitmotiv marginal – lieux périphériques, personnages paratopiques –s’associe également une figure d’auteur instable dans le champ littéraire argentin. Le motif de l’errance, quant à lui, réactive à la fois le mythe du peuple juif errant, par lequel l’auteurs se réapproprie ses origines, et le topos littéraire argentin du « désert ». L’errance, enfin, est aussi celle du lecteur, que Chejfec ne cesse de désorienter par un ensemble de procédés d’« étrangisation » (ostranenie) de la forme de ses textes.C’est enfin l’étrangèreté à soi et le brouillage des identités qui nous occupera dans un quatrième temps : il s’agira d’analyser la déconstruction du personnage romanesque, mais aussi les phénomènes de dédoublements, d’aliénations ou d’hybridités des sujets qui sont à l’oeuvre chez Chejfec. Les figures troublées de l’auteur, la question de la filiation et des origines ainsi que le rapport d’étrangèreté à la langue seront par la suite les axes principaux de cette dernière partie. / Sergio Chejfec was born in Buenos Aires, in 1956, and wrote novels, short stories, numerous essays and two collections of poems. His work is listed among the most unusual propositions in contemporary Argentine literature. Sergio Chejfec started writing at the end of the 1980s, in a context of intense questioning of the means and ends of the national literature which characterizes the post-dictatorship period, and now goes on with his work from New York City. This thesis intends to offer a cross-disciplinary analysis, relies on a corpus of seven novels, and is organized around the notions of strangeness and strangerness.The first part endeavors to show that the distortions that trigger a trouble some relationship between the subject and the world are hand in glove with the disappearance ofthe alter ego; that they can be conceived of in the light of the Freudian notion of the uncanny (das Unheimliche); and that they articulate a spectral figure that is linked with either an intimate or national past, and yet does not pass. Geographical strangerness is the main focus of the second part and is defined as impossible territorializing. It expresses itself in the recurrent motifs of margin andwandering. The marginal leitmotiv – peripheral places, paratopical characters – is also articulated with the figure of an author who remains on the fringe of the Argentine literary circle. As for the motif of wandering, it reactivates both the myth of the Wandering Jew,through whom the author takes back his origins, and the Argentine literary topos of the“desert.” At last, wandering is that of the reader, whom Chejfec tries to disorientate through a series of processes that “enstrange” (ostranenie) the form of the texts.The fourth part concentrates on strangerness and the blurring of identities. It analyses the deconstruction of the novelistic character, and the phenomena of splitting, alienating and hybridizing the subjects in Chejfec’s work. The troubled figures of the author, the question of filiation and of origins and strangerness to language are the main threads of this last part.

The usage of virtual assistants is starting to appear within a wide range of application areas. This thesis has been conducted in collaboration with Volvo Cars and more specifically the CAD & Mechanical Development department. It examines how a virtual assistant could facilitate daily product design work at Volvo Cars. This is done by creating a deep understanding of how Design Engineers currently use Volvo Cars CAD Methods or VM’s. The Volvo Cars CAD Methods are instructional documents where Design Engineers find guidance when encountering design related problems. This thesis focuses primarily on the mechanical design aspects of Volvo Cars CAD Methods. The final prototype presented in the thesis is a result of interviews, affinity diagram analysis, requirement analysis, survey, and design iterations. This thesis and the final prototype have shown the interaction design possibilities, limitations, use-cases, and future potential of a virtual assistant Volvo Cars.

This essay explores the sublime aspects in Edgar Allan Poe’s fictional horror, namely "The Tell-Tale Heart" (1843), "The Fall of the House of Usher" (1839) and "The Raven" (1839). The aim is to show that the sublime – an aesthetic experience articulated by Edmund Burke and Immanuel Kant amongst many – can make the reader oscillate between horror and safety. This essay also examines Poe’s works through the lens of Sigmund Freud’s concept of the uncanny to provide a contrasting, more nuanced analysis and understanding. The evidence presented in the analysis shows that Poe’s masterful use of writing techniques, including literary devices such as irony, demonstrates his unparalleled ability to simultaneously terrify and amaze his readers – the core idea of the sublime. Above all, the narrators in Poe’s works play a critical role in conveying the experience of the sublime, as their transgressive actions provide a lens through which the reader can experience both horror, wonder, and incomprehension. Poe’s works involve conflicts between imagination and reason, and rationality and irrationality, as well as the narrow border between the unfamiliar and the familiar – all concepts that tend to evoke both horror and awe. All combined, they have the power to evoke a feeling of the sublime – a concept that could undermine horror and thus make it more pleasurable to read.

As the number of immigrants in Sweden rises, the demand for alternative methods for language learning increases simultaneously. The use of social robots for teaching a second language is a promising field. The following research question has been designed to identify how social robots can be improved to better suit second language learners. The research question is: Which criteria are important for the user experience when interacting with a language cafe robot? The main method used to answer the question is Design Thinking with the help of semi-structured interviews. The results were 12 criteria which can be implemented for social robots in the future. The research has also studied how the criteria can be implemented in robots and to what degree the robot Furhat developed by Furhat robotics has implemented the criteria today. / I takt med det stigande antalet immigranter i Sverige ökar efterfrågan på alternativa metoder för språkinlärning. Användningen av sociala robotar för att undervisa andraspråk är ett lovande fält. Följande forskningsfråga har utformats för att identifiera hur sociala robotar kan förbättras för att anpassas till elever som lär sig andraspråk. Forskningsfrågan lyder enligt följande: Vilka kriterier är viktiga för användarupplevelsen när man interagerar med en språkcaférobot? Den huvudsakliga metoden som används för att svara på frågan är Design Thinking med hjälp av semistrukturerade intervjuer. Resultatet var 12 kriterier som kan implementeras för sociala robotar i framtiden. Rapporten har också studerat hur kriterierna kan implementeras i robotar och i vilken grad roboten Furhat som utvecklats av Furhat Robotics har implementerat kriterierna idag.

Indiana University-Purdue University Indianapolis (IUPUI) / Empirical research on the uncanny valley has primarily been concerned with visual elements. The current study is intended to show how manipulating auditory variables of the stimuli affect participant’s ratings. The focus of research is to investigate whether an uncanny valley effect occurs when humans are exposed to stimuli that have an incongruity between auditory and visual aspects. Participants were exposed to sets of stimuli which are both congruent and incongruent in their levels of audio/visual humanness. Explicit measures were used to explore if a mismatch in the human realism of facial and vocal aspects produces an uncanny valley effect and attempt to explain a possible cause of this effect. Results indicate that an uncanny valley effect occurs when humans are exposed to stimuli that have an incongruity between auditory and visual aspects.

En la vasta cuentística latinoamericana, es la del mexicano Bruno Estañol una de las pocas que presenta el fenómeno de lo extraño, la caracterización femenina y el tratamiento del cuerpo humano no sólo con un enfoque particular, sino como elementos recurrentes y de gran importancia para el desarrollo y evolución de las tramas y también de los personajes que participan en ellas. Su escritura invita a reflexionar en la manera tan particular en la que los personajes femeninos se comportan, afectando contundentemente el devenir de los acontecimientos en cada uno de los cuentos. Igualmente, el tratamiento que le da el autor a los cinco sentidos del cuerpo humano y su protagonismo en La esposa de Martin Butchell me ha invitado a llevar a cabo este análisis basado en la interrelación que identifico con lo extraño. ¿Es entonces el cuerpo un medio, un instrumento para el desarrollo emocional de los personajes de cada historia, o será más bien un ente que sirve más bien para extraerlos de su realidad y llevarlos a un lugar familiar que no logran reconocer del todo? Mujer, cuerpo y extrañeza; escritura, ciencia y arte, son algunos de los mundos que se fusionan en la vida y obra del escritor de La esposa de Martin Butchell. Este trabajo se concentra entonces en estudiar siete de los cuentos de la mencionada colección: "La esposa de Martin Butchell", "Cundeamor", "Ver de lejos", "Visita a la tumba de Edgar Allan Poe", "Rosalía", "El sacrificio de Ilse" y "La fascinadora de los ojos bicolor". Busco analizar algunos de sus personajes femeninos principales y también identificar la forma en que el tema del cuerpo humano toma una relevancia especial y cómo se incluye un toque de lo siniestro o lo uncanny de maneras muy distintivas en cada uno de esos elementos temáticos.

Le recueil intitulé Triangle noir sur triangle blanc développe un imaginaire du désir amoureux, de la féminité et de l’intériorité. Ses poèmes succincts et dépouillés laissent place à un témoignage mélancolique qui prend forme au-delà du dicible. Expérience trouble défend l’hypothèse selon laquelle, dans La Beauté pourrit sans douleur (1989), les poèmes de François Charron, que je qualifie d’ordinaires, font surgir un sentiment d’étrangeté chez le lecteur. Après des analyses discursive et formelle, une analyse des effets de lecture et diverses considérations philosophiques et théoriques (Bégout, Freud, Rancière), j’en conclus que cette poésie à la fois ordinaire et étrange témoigne d’une conscience de l’absurde (Camus) qu’elle transmet à son lecteur. / This poetry collection entitled Triangle noir sur triangle blanc [Black Triangle over White Triangle] builds an imaginary of love desire, femininity, and interiority. Its succinct and unadorned poems give way to a wistful testimonial that takes shape beyond the realm of words. Expérience trouble [Confused Experience] supports the hypothesis that in La Beauté pourrit sans douleur (1989), François Charron's poems, which I consider ordinary, bring out a sense of uncanniness in the reader. After discourse and formal analyses, an analysis of the effects of reading and various philosophical and theoretical considerations (Bégout, Freud, Rancière), I have come to the conclusion that this poetry both ordinary and uncanny testifies to an awareness of the absurd (Camus) that it conveys to the reader.

This study investigates the relationship between the uncanny valley effect and perceived facial expressions in anthropomorphized virtual animals. This thesis builds upon previous research by the author in the hopes of addressing previously identified limitations and reinforcing the data of the earlier study. The aim is to examine whether the uncanny valley effect can be triggered by a mismatch between realistic and stylized facial animations applied to a realistic or stylized 3D animal, and if this effect varies depending on the expression portrayed. A research questionnaire was used to assess whether participants experience uncanniness when there is a discrepancy between the level of realism and stylization in the animation of virtual animals. The findings of the study indicated that the hypothesis is true even with the additional improvements and greater scrutiny concluding that the study will contribute to the understanding of the uncanny valley effect in relation to anthropomorphized virtual animals.

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