Hautveränderungen und Hautkrankheiten können bei betroffenen Personen Gefühle von „Entstellung“ auslösen. Die Beobachtung eines veränderten Betrachtungsverhaltens von Interaktionspartnern oder anderen Personen aus dem persönlichen Umfeld ist in vielen Fällen maßgeblich an der Entstehung solcher Gefühle beteiligt. In dieser Studie wurde mit Hilfe des Restricted Focus Viewer (RFV) Blickverhalten registriert und detailliert untersucht. Durch eine Analyse von Veränderungen des Blickverhaltens wie auch Korrelationen mit den dazugehörigen Bewertungen sollte das automatisch als abwertend empfundene Betrachtungsverhalten kritisch überprüft werden. Als Grundlage hierfür diente in dieser Arbeit allerdings ein Schema-bezogenes Konzept, wonach etwaige Unterschiede beim Erfassen von Veränderungen im Gesicht stärker auf kognitiven als auf emotionalen, wertenden Faktoren beruhen. Um den Einfluss möglicher Störvariablen, wie Geschlecht oder Alter, zu verhindern und damit fundiertere Aussagen machen zu können, wurde das Untersuchungs- und Probandenkollektiv u.a. in diesen Kategorien gezielt eingegrenzt. Die Erwartungen an die Untersuchung wurden insgesamt bestätigt. So zeigte sich zunächst in der Analyse der Ergebnisse sowie den Auswertungen des Fragebogens, dass der RFV für Untersuchungen auf diesem Gebiet ein geeignetes Verfahren darstellt. Darüber hinaus konnten aus den Daten dieser Arbeit einige neue Erkenntnisse im Bereich der Entstellungsforschung hautkranker Personen gewonnen werden. Viele Aspekte vorausgegangener Studien auf diesem Gebiet, wie beispielsweise ein left gaze bias konnten bestätigt werden. Als wichtiges stützendes Argument für einen Schema-Konzept-Ansatz konnten „Kognition“ und „Emotion“ als zwei voneinander unabhängige Dimensionen bei der Betrachtung und Bewertung der Portraitbilder herausgestellt werden, wobei sich die verlängerten Blickzeiten deutlich stärker kognitiven Faktoren zuordnen ließen. Dieser Zusammenhang bestätigte sich darüber hinaus bei Korrelationen von Fixationszeiten (FZ) und Attributen. Hier zeigte sich erwartungsgemäß ein deutlich stärkerer Zusammenhang von FZ und dem Attribut Auffälligkeit (kognitiv) gegenüber der Korrelation von FZ und Attraktivität (emotional). Zusammenfassend liefern die Ergebnisse dieser Untersuchung zahlreiche Anhaltspunkte dafür, Veränderungen des Blickverhaltens im Sinne kognitiver Prozesse zu deuten. Zusätzlich können die gewonnenen Erkenntnisse unter anderem bei der (Psycho-) Therapie von Hautkranken wertvoll sein. Die Studie gibt zudem Anreize für zukünftige Forschung und eine noch effektivere Nutzung des RFV.

I detta arbete undersöks sökverktyget Ngram Viewer och dess ryska delkorpus, innehållande totalt drygt 67 miljarder ord från närmre 600 000 böcker, utgivna mellan 1607 och 2009. Arbetet består av tre huvudsakliga delar; en översiktligt jämförande undersökning av andra ryskspråkiga korpusar, därefter en mindre litteraturstudie av tidigare forskning genomförd med hjälp av den ryska delkorpusen i Ngram Viewer och slutligen egna tester och pilotundersökningar av densamma. Syftet med uppsatsen är framförallt att undersöka Ngram Viewers möjligheter och begränsningar i en större kontext av korpusforskning. Pilotstudierna i Ngram Viewer fokuserar framförallt på relationen mellan begreppen русский och российский (och därmed indirekt förhållandet mellan Русь och Россия‏), bland annat genom jämförelse med tidigare studier (Griščenko, 2013, 2014a). En av de viktigaste insikterna från arbetets första två delar är korpusens bristande funktioner vad gäller hantering av skrivtecken som avskaffades vid den ryska stavningsreformen 1917. Pilotundersökningarna i arbetets tredje del avgränsas därför främst till material från åren 1900–2008. Att de lingvistiska annotationerna i korpusen uteslutande är automatiskt genererade samt att man inte har direkt tillgång till korpusens källmaterial utgör också viktiga faktorer som begränsar Ngram Viewers användningsområde. / В этой работе изучается корпус и инструмент Google Books Ngram Viewer и как можно использовать корпус для исследования исторических изменений русского языка. Русский подкорпус Ngram Viewer содержит около 67 миллионов слов из почти 600 000 книг, изданных 1607–2009 гг.   Исследование состоит из трех частей. В первой части сравнивается Ngram Viewer с другими корпусами русского языка. Во второй части предлагается обзор научной литературы относительно Ngram Viewer, и его русского подкорпуса. В третьей части приводятся собственные пилотажные исследования с помощью Ngram Viewer. Прежде всего, рассматривается использование слов русский и российский, в частности, по сравнению с исследованиями Грищенко 2013 и 2014а.   Мы пришли к выводу, что Ngram Viewer в первую очередь может быть использован как инструмент количественного анализа русского языка 20-ого и 21-ого веков. По техническим причинам корпус оказался менее полезным для изучения более древних текстов (до орфографической реформы 1917 г.).

The diploma thesis on the topic Changes in the programming scheme of the ČT 2 channel after the amendment to the Czech Television Act of 2011 examines whether this television channel was commercialized after the law changed the rules for placing advertisements and advertising messages on public service television channels. The ČT 2 channel was conceived as an alternative channel intended for a more demanding audience. From the logic of its focus, such a channel does not aim at high viewership. Nevertheless, the amendment to the law designated it for the sale of advertising time as the only full-format channel of Czech Television. The search provided a wealth of information regarding television broadcasting by law and the effects it has on public service television. Czech Television was included in the media system as a public service television. The work deals with the technique and principles of creating a television program and its individual components, which undoubtedly have an impact on the resulting media product, which is the program scheme of the channel. Professional publications of Czech and world media experts enabled the author to create his own definition of terms, the description of which clearly does not agree with the professional public. It is mainly about defining a program that...

This essay is a qualitative study that analyzes how close-ups and point of view in relation to the narrative affect the viewer emotionally in the TV show The Last of Us episode 8. It examines the visualization of the character Ellie’s emotions and analyzes its emotional effect on the viewer. The theories applied explain the human ability to feel empathy and social cognition, film’s ability to evoke emotion and the concept of focalization. The theories also define the terms: narrative, point of view and close-ups. Five scenes were chosen and each scene was analyzed closely looking at facial expressions, point of view, camera movement, angles and more. Since this is a qualitative study it is based on subjective interpretations and assumptions which should be taken into account. However emotions are exceedingly subjective and a quantitative study would therefore be unmotivated.  The results suggest that assumptions can be made in how close-ups and point of view affect the viewer emotionally. When taken narrative into account, close-ups and point of view visualized the character Ellie’s emotions. These two techniques clarified and reinforced the character’s emotional state which, through the human ability to feel social cognition and empathy, transferred and/or influenced the viewer’s emotions.

Ce travail porte sur la mise en scène et mise en visibilité des problèmes publics et débats de société dans les séries et feuilletons télévisés français. Le terrain mobilise un corpus de quatre séries françaises, deux de service public et deux de la chaîne payante Canal+. Au travers d'une double approche, nous envisageons le rôle de ces productions dans la sphère publique française ainsi que les enjeux différenciés qu'elles revêtent. D'une part, certaines endossent une fonction de lien social et de consolidation des valeurs de la société française, en élaborant des mises en scène traitant de débats de société ou de questions de moeurs et en offrant au téléspectateur-citoyen l'accès à ces problématiques grâce aux potentialités spécifiques du genre sériel. Il s'agit également d'étudier les stratégies de communication publique qui, en s'inscrivant dans le cadre de ces feuilletons ou séries, renouvellent leur champ d'action et bénéficient des atouts de la fiction. D'autre part certaines de ces productions peuvent être envisagées comme une tribune alternative permettant à des acteurs engagés - ou issus de sphères professionnelles antérieures – de relayer des revendications et d'accéder à la visibilité de la scène médiatisée. La série s'érige alors en « opérateur de la visibilité » au service d'entrepreneurs de cause et devient partie intégrante des processus de construction des problèmes publics dans les arènes publiques françaises. / This work focuses on the staging and public visibility of social problems and social debates in French television series and soap operas. The field mobilises a corpus of four French series, two from public service and two from the pay-TV channel Canal +. Through a double approach, we consider the role of these productions in the French public sphere as well as the differentiated stakes they take. One the one hand, some endorses a function of social bonding and consolidation of values of the French society by elaborating stagings regards with societal debates or morality issues and by offering the citizen-viewer access to these problematic thought the specific potential of the serial genre. It is also a question of studying the strategies of public communication which, by being part of these soap operas or series, renew their field of action and benefit from the assets of the fiction. On the other hand, some of these productions can be considered as an alternative platform allowing actors involved – or from previous professional spheres – to relay claims and gain access to visibility of the media scene. The series then become a “visibility promoter” in theof entrepreneurs' cause and become part of the process of building social problems in the French public arena.

Este trabalho apresenta o estudo e implementação de um sistema para vinculação e visualização de imagens de ressonância magnética nuclear e tomografia computadorizada a partir de um sistema de informação em radiologia (RIS), possibilitando a recuperação e disponibilização dos exames (laudos e imagens), através de rede \"ethernet\", para visualização a partir de uma interface desenvolvida para \"browser\". Os exames podem ser recuperados através do número de registro (RGHC) ou do nome do paciente. As imagens utilizadas no trabalho estão nos padrões DICOM 3.0 (Digital Imaging and Communications in Medicine) e JPEG (Joint Photographic Experts Group). Para a vinculação dos exames que possuem suas imagens em JPEG foi desenvolvida uma interface para inclusão das informações necessárias que garantem a consistência deste processo. Para os exames que possuem suas imagens em formato DICOM 3.0 as informações foram extraídas automaticamente dos cabeçalhos e armazenadas no banco de dados. O sistema possui uma interface amigável ao usuário, podendo ser rapidamente incorporada ao projeto de um PACS (Picture Archiving and Communication System). A implementação foi idealizada para servir ao Hospital das Clínicas da Faculdade de Medicina de Ribeirão Preto da Universidade de São Paulo (HCFMRP/USP), com base no seu sistema de informação em radiologia. Os resultados demonstram que o tempo de retorno das imagens é clinicamente satisfatório e considerado bom pela avaliação qualitativa dos médicos. / This work presents the study and implementation of a system aiming the indexing and visualization of the images of nuclear magnetic resonance and computerized tomography from a radiology information system (RIS), allowing the retrieval and availability of the exams (results and images), through an ethernet net for visualization beginning with an interface developed to a browser. The exams may be recovered either through their register number (RGHC) or the patient\'s name. The images employed in the work follow the DICOM 3.0 (Digital Imaging and Communications in Medicine) and JPEG (Joint Photographic Experts Group) patterns. For the indexing of the exams that present images in JPEG, an interface was developed to include the information required to guarantee the consistency of the process. For the exams presenting the DICOM 3.0 format, information was extracted automatically from the heading and filed in the database. The system has a friendly interface for the user, it may be rapidly incorporated to the project of an PACS (Picture Archiving and Communication System). The implementation was idealized to serve the Hospital das Clínicas da Faculdade de Medicina de Ribeirão Preto, of the Universidade de São Paulo (HCFMRP/USP), based on its radiology information system (RIS). The results demonstrated that the time of retrieval of the images is satisfactory and considered good by evaluation qualified of the doctors.

<p> </p><p>Measuring the quality of software is a complex task. Various analyses and computations of software quality metrics support this process. For certain investigations it is helpful to visualize the relations between different components of software in order to check quality aspects. The VizzAnalyzer tool was developed for these purposes and allows the visualization of software systems as UML2.0 class diagrams. The visualization plug-in lays out the internal structure and ensures a high readability of the layouts.</p><p>In this thesis the layout algorithm embedded in the plug-in is optimized to increase its performance and the readability of layouts computed. The interaction with other applications is an important aspect. The current visualization plug-in is extended to meet the requirements of the Quick Orientation Viewer and to support future applications. The optimizations and extensions are further addressed to enhance the usability and the functions provided by the layout algorithm.</p><p> </p>

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-08-18T16:50:01Z No. of bitstreams: 1 Amanda Yara Generozo.pdf: 2567771 bytes, checksum: 65dd9db4e5caa669e75edd964f15a1be (MD5) / Made available in DSpace on 2016-08-18T16:50:01Z (GMT). No. of bitstreams: 1 Amanda Yara Generozo.pdf: 2567771 bytes, checksum: 65dd9db4e5caa669e75edd964f15a1be (MD5) Previous issue date: 2015-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research is intended for bringing a reflection about the reception processes of cultural products by child viewers. The questioning lies in investigating it, making use of the theoretical framework of communicative mediations of culture and full focus on audience, that is, the manner how children aged between 7 and 12 interact with audiovisual stories, especially animated television series, in order to understand, from this perspective, the acquisition and the production of meaning in daily life, taking the interpretation of the cartoon Doug Funnie as basis. As methodology, the study applies literature review combined with a discussion group guided by the theoretical and methodological model of multiple mediation formulated by Guillermo Orozco Gómez, based on the mediation paradigm of Jesús Martín-Barbero. The reception research, carried out in the school environment, verified that media communication has a dialogic nature and implies recognition and projection of the viewer with the fiction universe. Therefore, the production of meaning in what concerns television cartoon is not contained in the audiovisual scenario, but in the social and cultural context in which interlocutors relate with each other and with the media. From this interaction, understanding and development of cultural products emerge, then signaling that the interpretation of the child viewers reveals their particular manner of seeing the world. / Esta pesquisa propõe uma reflexão a respeito dos processos de recepção de produtos culturais por parte do telespectador infantil. A problematização está em investigar, valendo-se dos referenciais teóricos das mediações comunicativas da cultura e do enfoque integral da audiência, como as crianças com idade entre 7 e 12 anos interagem com as narrativas audiovisuais, especialmente com a série de animação televisiva, para desta perspectiva compreender como se dão a apropriação e a produção de sentidos no cotidiano, tomando-se por base a interpretação do desenho animado Doug Funnie. O estudo emprega como metodologia a revisão de literatura combinada ao grupo de discussão norteado pelo modelo teórico-metodológico da mediação múltipla formulado por Guillermo Orozco Gómez, com base no paradigma das mediações de Jesús Martín-Barbero. A pesquisa de recepção, realizada em ambiente escolar, constatou que a comunicação midiática é de natureza dialógica e implica em reconhecimento e projeção do interlocutor no universo da ficção, assim, a produção de sentidos em relação ao desenho animado não está contida no audiovisual, mas no contexto sociocultural no qual interlocutores relacionam-se entre si e com os meios. E desta interação emergem a compreensão e a recriação dos produtos culturais, sinalizando que as interpretações do telespectador infantil revelam a sua maneira de ver o mundo.

Made available in DSpace on 2016-08-03T12:30:09Z (GMT). No. of bitstreams: 1 Amanda Yara Generozo2.pdf: 893445 bytes, checksum: a66a9671f15cd5f4efab87fe1e2b2ed9 (MD5) Previous issue date: 2015-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research is intended for bringing a reflection about the reception processes of cultural products by child viewers. The questioning lies in investigating it, making use of the theoretical framework of communicative mediations of culture and full focus on audience, that is, the manner how children aged between 7 and 12 interact with audiovisual stories, especially animated television series, in order to understand, from this perspective, the acquisition and the production of meaning in daily life, taking the interpretation of the cartoon Doug Funnie as basis. As methodology, the study applies literature review combined with a discussion group guided by the theoretical and methodological model of multiple mediation formulated by Guillermo Orozco Gómez, based on the mediation paradigm of Jesús Martín-Barbero. The reception research, carried out in the school environment, verified that media communication has a dialogic nature and implies recognition and projection of the viewer with the fiction universe. Therefore, the production of meaning in what concerns television cartoon is not contained in the audiovisual scenario, but in the social and cultural context in which interlocutors relate with each other and with the media. From this interaction, understanding and development of cultural products emerge, then signaling that the interpretation of the child viewers reveals their particular manner of seeing the world. / Esta pesquisa propõe uma reflexão a respeito dos processos de recepção de produtos culturais por parte do telespectador infantil. A problematização está em investigar, valendo-se dos referenciais teóricos das mediações comunicativas da cultura e do enfoque integral da audiência, como as crianças com idade entre 7 e 12 anos interagem com as narrativas audiovisuais, especialmente com a série de animação televisiva, para desta perspectiva compreender como se dão a apropriação e a produção de sentidos no cotidiano, tomando-se por base a interpretação do desenho animado Doug Funnie. O estudo emprega como metodologia a revisão de literatura combinada ao grupo de discussão norteado pelo modelo teórico-metodológico da mediação múltipla formulado por Guillermo Orozco Gómez, com base no paradigma das mediações de Jesús Martín-Barbero. A pesquisa de recepção, realizada em ambiente escolar, constatou que a comunicação midiática é de natureza dialógica e implica em reconhecimento e projeção do interlocutor no universo da ficção, assim, a produção de sentidos em relação ao desenho animado não está contida no audiovisual, mas no contexto sociocultural no qual interlocutores relacionam-se entre si e com os meios. E desta interação emergem a compreensão e a recriação dos produtos culturais, sinalizando que as interpretações do telespectador infantil revelam a sua maneira de ver o mundo.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T17:37:57Z No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:21:27Z (GMT) No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Made available in DSpace on 2018-09-11T13:21:27Z (GMT). No. of bitstreams: 1 A CENA NAS REDES utilizacao de tecnologias digitais no desenvolvimeno da presenca e do espaco cenico VINICIO DISSERTACAO ~1.pdf: 1441833 bytes, checksum: 77ed7b52b5149a378671ee9695661e27 (MD5) / Neste trabalho elaboro uma análise crítico-reflexiva sobre o desenvolvimento do espaço cênico e da presença do ator e do espectador a partir da utilização das tecnologias da informação e comunicação. Adoto como eixo para a reflexão o pressuposto delimitador que ainda hoje é definidor de um evento teatral – a presença de pelo menos um ator e um espectador em um espaço determinado unidos por um acordo tácito. Com base nesse pressuposto relaciono ao longo do trabalho conceitos e definições referentes às tecnologias digitais da informação (realidade virtual, virtualidade, telepresença, ciberespaço) com os elementos do teatro e sua aplicabilidade na arte teatral. Analiso exemplos de propostas de espetáculos construídos sobre a perspectiva do teatro digital e midiático e por fim proponho duas características de um possível teatro digital. / In this paper I develops a critical and reflective analysis of the development of the scenic area and the presence of the actor and the spectator from the use of information and communication technologies. I adopt as an axis for reflection delimiter assumption that today is defining a theatrical event - the presence of at least one actor and spectator states in a given space unite by a tacit agreement. Based on that assumption I do a relation about concepts and definitions relative to digital information technologies (virtual reality, virtuality, telepresence and cyberspace) with the elements of theater and their applicability in theatrical art. I analyze examples of plays built on the perspective of digital and mediatic theater and finally i propose two characteristics of a possible digital theater.