O morcego Desmodus rotundus é uma das três espécies de morcegos hematófagos existentes. Possui ampla distribuição, ocorrendo do sul do México até Argentina e Chile. Além de seu hábito alimentar incomum, esta espécie possui particular interesse por ser transmissor da raiva bovina. Apesar dos métodos de controle da população, estudos estimaram em até 33 milhões de dólares ao ano os prejuízos causados por esta espécie a pecuária no Brasil. Ao mesmo tempo, segundo dados oficiais, cerca de 200.000 indivíduos da espécie podem ter sido mortos no Estado de São Paulo no ano de 2000 através dos métodos de controle populacional. Além deste controle não surtir o efeito desejado (o número de casos de raiva não diminuiu no período), não se conhece qual o efeito desta matança nas populações naturais do morcego. Apesar de sua ampla distribuição e reconhecida variação morfológica, nenhum estudo foi realizado para procurar entender como a variabilidade genética desta espécie está distribuída geograficamente. Este estudo se propôs a estudar a filogeografia do morcego vampiro comum analisando um marcador mitocondrial, dois marcadores nucleares e morfometria de crânio. O marcador mitocondrial identificou cinco clados monofiléticos sem haplótipos compartilhados nem zonas de contato, cada um representando uma região geográfica diferente. São eles: Mata Atlântica sul (MAS), Mata Atlântica norte (MAN), Amazônia e Cerrado (AMC), América Central (AC) e Pantanal (PAN), sendo que os clados da Mata Atlântica formam um clado monofilético a Leste, se contrapondo aos demais clados a Oeste. Os índices de divergência entre estes clados são comparáveis a distâncias descritas para espécies congenéricas. Os tempos de divergência estimados entre os clados através de métodos coalescentes e não-coalescentes apontam para uma divergência pleistocênica, além de testes de neutralidade apoiarem a idéia de fragmentação por refúgios. O padrão biogeográfico descrito para D. rotundus possui um paralelo em uma série de outros organismos. Os marcadores nucleares por sua vez mostraram baixa variabilidade, e extenso compartilhamento de haplótipos entre as localidades pertencentes a distintos clados mitocondriais, num padrão que contrasta com os resultados descritos anteriormente. Simulações coalescentes foram realizadas com os parâmetros calculados para o gene nuclear RAG2 e mostraram compatibilidade entre os dados observados e vicariância pleistocênica para um marcador nuclear com o Ne calculados para D. rotundus. Os dados de morfometria de crânio mostraram que existe pouca diferenciação ao longo de toda a distribuição da espécie. Dados de Fst, funções discriminantes e variáveis canônicas mostram uma grande afinidade entre indivíduos dos clados AC e AMC, que juntos formam a distribuição de uma antiga subespécie atribuída a este táxon, Desmodus rotundus murinus. As análises de distância de Mahalanobis também são concordantes com os resultados obtido para o marcador mitondrial. Por fim, uma análise realizada com o software treescan mostra existir uma correlação estatisticamente significativa entre a árvore de DNA mitocondrial e os dados multivariados de crânio. Assim, por fim propõe-se que se reconheçam duas linhagens hoje atribuídas a D. rotundus como espécies distintas: uma a Leste (Mata Atlântica) e uma a Oeste. Uma amostragem mais cuidadosa do interior do Brasil e do restante da América do Sul deve determinar corretamente a área de ocorrência de cada espécie. / The bat Desmodus rotundus is one of the three extant vampire bat species. It has a broad distribution, occurring from southern México until Argentina and Chile. Besides its unique feeding habit, this species is of particular interest for being the main vector of cattle rabies. Even with population control methods, studies have estimated in 33 million dollars per year the damage caused by this bat to cattle farming in Brazil. At the same time 200.000 specimens might have been killed in São Paulo state in the year 2000 using the population control methods. Besides the fact that this control did not diminish the number of rabies cases, the impact of this killing in the bats\' natural populations is unknown. Although this species has a broad distribution and recognized morphological variation, no effort was made thus far to understand how this species\' genetic variability is distributed geographically. This work is aimed at studying the common vapire bats\' phylogeographic pattern using a mitochondrial marker, two nuclear markers and skull morphometrics. The mitochondrial marker identified five monophiletic clades without shared haplotypes or contact zones. Each clade represents a distinct geographic region: South Atlantic Forest (SAF), North Atlantic Forest (NAF), Amazon and Cerrado (AMC), Central America (CA) and Pantanal (PAN). The Atlantic Forest clades form an Eastern monophiletic clade opposing the other clade that lies westwards. The nucleotide divergence between these clades is similar to the one described to congeneric species. The divergence times estimated by coalescent and non-coalescent methods point to a Pleistocene vicariant event. The neutrality tests also point to refugia allopatric fragmentation. The biogegraphic pattern described for D. rotundus has a parallel in many other organisms. The nuclear markers showed low variability and sharing of haplotypes among all localities, contrasting with the previous results. Coalescent simulations were carried with populational parameters estimated for the nuclear gene RAG2 and showed compatibility between the observed data and Pleistocene vicariance effect on a neutral nuclear marker. Skull morphometrics showed low differentiation throughout the bats\' distribution. Data on Fst, discriminant functions and canonic variables shows affinity between CA and AMC clades. These two clades together form the distribution of a subspecies previously described to this taxon, Desmodus rotundus murinus. The Mahalanobis distance analyses are also congruent with the results obtained withn the nuclear marker. The analysis done with the software treescan shows a statistic significant correlation between the mtDNA tree and the skull multivariate data. On the basis of the results presented, it is proposed that two lineages currently atributed to D. rotundus are to be recognized as different species: one to the east (Atlantic Forest) and one to the west. A detailed sampling of the Brazilian and South American country will determine the exact range of each species.

Anne Rice writes popular fiction. She is best known for her iconic Vampire Chronicles series. This thesis focuses on the first three volumes of this series: Interview with the Vampire (1976), The Vampire Lestat (1985), and The Queen of the Damned (1988). The main objective of this thesis is to show that whilst Rice's novels often seem very liberal, an examination of her subtext reveals a conservative message. This message helps entrench socio-cultural and political hegemonies because it does not challenge the status quo. In order to see how these conservative leanings are entrenched by Rice, this thesis examines archetypes of the female and the Feminine. Louis is male, but can be viewed as a Feminine character because of his meek subservience to Lestat (the protagonist of the series). Claudia is their daughter, but she is also a woman trapped in a child's body. Claudia seems to have great intellectual freedom, but she is trapped within her body and cannot mature. Gabrielle is Lestat‟s mother. When Gabrielle becomes a vampire, Rice tries to empower Gabrielle by androgynizing her character. However, we find that this androgyny is not empowering because Gabrielle returns to her role as a mother. Akasha is the ancient queen and source of vampirism. She wants to bring about a radical, gynocentric world by killing most men. But subtextually, Akasha‟s defeat represents the defeat of feminism in favour of patriarchy. Despite the seemingly liberal nature of the texts, subtextually there is a trend towards negating the power these characters carry in the text. To explore the flux between the text and the subtext, an array of post-modern reading tools and theoretical approaches have been used. The primary reading strategies include a close reading of the novels, informed by Feminist perspectives, together with other reading strategies such as, Queer Theory, Marxism, deconstruction and the role of the Fantastic. Little academic study has been devoted to Rice‟s work. Her work shows deep philosophical and artistic integrity which lends an elegance and beauty to her texts, but this is undermined by the conservative undertones of her work. / Dissertation (MA)--University of Pretoria, 2011. / English / unrestricted

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I den här uppsatsen undersöks hur vampyrer dör i TV-serierna True Blood (2008-2014), Vampire Diaries (2009-2017) och Buffy the Vampire Slayer (1997-2003). Genom närläsning och jämförelser mellan dessa olika sätt att skildra vampyrers död diskuteras vad detta innebär för den roll vampyren får i respektive serie, och vad det betyder för skildringen av kropp och kroppslighet. Jag använder mig av teorier kring skildringen av (mänsklig) död på film, samt för en diskussion i relation till bland annat Judith Butlers begrepp ”sörjbara kroppar” och Giorgio Agambens ”bare life”. Utifrån detta ställs frågor om hur vampyrer, deras död och skildringen av denna relaterar till de diskurser om mänsklighet som genomsyrar serierna och deras kontext.

Le projet de mémoire cherche à retrouver les influences de la Fantasmagorie du 19e siècle dans le cinéma d'aujourd'hui, en particulier dans le genre du film de vampire. Nous abordons les procédés et techniques optiques qui mettent en images l'expérience d'un monde en proie à de grands changements sociohistoriques, et surtout, comment le cinéma a intégré ces données. L'imaginaire fantasmagorique a conditionné l'émergence des techniques optiques qui ont mené au cinématographe, et en cela, le médium cinématographique est bien emblématique de cette époque caractérisée par l'industrialisation et le retour d'un passé laissé en arrière par la modernité historique. Le cinéma, comme dispositif comprenant machine, image et sujet regardant, est mis en relation avec les dispositifs optiques du théâtre d'ombre, de la lanterne magique de Robertson et de la photographie, pour ainsi faire émerger le contexte technique, historique et psychologique de l'époque. Nous mettons l'accent sur les notions visuelles de l'apparition, de la projection et de la réification afin de souligner le retour d'un ancien regard qui prévalait avant l'arrivée de l'image mécanisée. En somme, lors des deux premières parties, c'est à l'Histoire moderne, son temps linéaire et la hantise qu'ils provoquent, que le cinéma sera relié. C'est à travers la figure du vampire que nous examinerons le cinéma; cette créature fantastique entretient bien des affinités métaphoriques avec le médium et elle nous permet d'entrevoir clairement toute la Fantasmagorie du 7e art. Avec un corpus filmique incluant certains films découlant du roman Dracula de Bram Stoker, nous allons voir comment la technologie du 19e siècle dévoile l'aspect mythique de la pensée rationnelle et moderne. L'image, dans sa grande tradition cultuelle ou/et artistique, semble répondre à des impératifs inconscients et archaïques, à des fantasmes premiers devant la mort et l'éternité, même si elle est produite par un appareil mécanique. C'est en cela que la technique moderne arbore des qualités fantasmagoriques qui, tout comme le vampire, nous remettent en contact avec ce que la civilisation occidentale a refoulé. Notre attention est donc portée avec insistance sur les façons dont l'image filmique et le regard qu'elle convoque, font resurgir d'anciens modes de perception et d'interprétation illusoirement relégués à l'époque pré-moderne. ______________________________________________________________________________

La recherche universitaire sur les séries télévisées en France est relativement récente. Depuis plusieurs années, on peut remarquer que les séries ont acquis peu à peu une certaine forme de légitimité qui tend à se manifester à travers la manière dont le public les aborde. Le postulat de base lorsque l'on aborde la série télévisée est qu'elle serait un sous-genre du cinéma. Elle s'en démarquerait par son format particulier, son aspect feuilletonnesque permettant au spectateur de suivre une histoire sur du long terme, tout en s'identifiant plus facilement aux personnages dont il va suivre les pérégrinations pendant des semaines, voire des années. Pourtant si elle possède les marques du cinéma, ses références ainsi qu'un mode semblable de création et de production, elle est également à rapprocher de tous les avatars de la sérialité qui l'ont précédé (roman-feuilleton, radiodrama,etc.).Des budgets de plus en plus conséquents sont alloués à la création de séries aux États-Unis et l'on confie ces projets à des réalisateurs soucieux de se démarquer et de donner une profondeur à leur travail à travers des sujets les plus originaux possibles. On a pu voir alors depuis les années 90,la qualité de la série télévisée américaine s'imposer sur les autres et se développer à travers une myriade de thèmes différents. Comme pour les autres médias, nous désignons les séries à travers le prisme de la catégorie générique. La notion de genre, qu'elle soit littéraire, cinématographique ou autre, est très difficile à appréhender et à définir. C'est dans la continuité de ces recherches que j'envisage une étude approfondie du médium sériel dans laquelle il conviendrait de se demander si à travers cette notion du genre, la série télévisée américaine n'a fait que réemployer les outils qui étaient à sa disposition ou si, comme les autres arts, elle s'est construite à travers eux, se les appropriant et leur donnant de nouvelles formes. Il s'agit en réalité d'une défense de la série télévisée en tant que médium possédant ses propres codes esthétiques. Il faut alors pour cela choisir un genre connu pour ses formes, ses codes et ses mythes. En cela, le fantastique me semble parfaitement approprié à une étude de cette ampleur. En effet, le fantastique et plus précisément l'apparition du surnaturel est présent depuis toujours dans la culture populaire à travers la littérature,les arts plastiques et picturaux, la musique et le cinéma. Il est donc légitime que la série télévisée se soit appropriée ses thèmes et son imagerie. En partant de réflexions théoriques sur l'étude des formes narratives génériques comme celle de Todorov par exemple il sera possible de bâtir le point de départ de notre démarche. Afin de donner une profondeur au sujet et de pouvoir mener une étude concrète, il sera nécessaire de poursuivre cette réflexion sur le seul terrain de la série fictionnelle américaine contemporaine. Il conviendra alors d'étudier à travers des exemples relativement larges(True Blood, Angel, American Horror Story, Buffy, Charmed, Pushing Daisies, Medium,Supernatural, Game of Thrones, The Walking Dead, Teen Wolf, etc.) la manière dont la série américaine traite des thèmes, des figures et des mythes propres au fantastique. / Serial studies in France are relatively recent. But for several years, we can see that the series have gradually acquired some form of legitimacy that tends to manifest itself through the way the public addresses to it. The basic premise when we approach the television series is that it would be a cinema subgenre. It would be different by its format, its “feuilletonnesque” appearance allowing the viewer to follow a story in the long term, while more easily identify himself with the character she will follow the peregrinations for weeks or even years. Yet if it has the film marks, references and a similar mode of creation and production, it is also close to all the avatars of seriality that preceded (serial novel, radio drama, etc.).More and more budget is allocated to the creation of series in the United States and weentrust these projects to directors eager to stand and give a depth to their work through the most original topics. Then we have seen since the 90's, the quality of the American television series win over others and develop through a myriad of different themes. As other medias, we mean the series through the prism of the generic category. The notion of genre, whether in literature, cinema or otherwise, is very difficult to understand and define. This is a continuation of this research I plan a thorough study of the serial medium in which it would be appropriate to wonder if through this notion of gender, the American television series has only re-employ the tools that were available orif, like the other arts, it has been built through them, appropriating them and giving them new forms.This is actually a defense of the TV series as a medium with its own aesthetic codes. It is then necessary to choose a genre known for its shapes, its codes and myths. In this case, fantasy seems perfectly suitable for a study of this magnitude. Indeed, the fantastic and specifically the appearance of the supernatural is always present in popular culture through literature, visual and pictorial arts, music and film. It is therefore legitimate that the TV series will appropriate its themes and imagery. Starting from theoretical considerations of the study generic narrative forms like Todorov, for example, it will be possible to build the starting point of our thinking. To give depth to the subject and to take concrete study, it will be necessary to continue to reflect on the sole field of contemporary American fiction series. It should be studied through relatively broad examples (TrueBlood, Angel, American Horror Story, Buffy, Charmed, Pushing Daisies, Medium, Supernatural, Game of Thrones, The Walking Dead, Teen Wolf, etc.) of how the American series deals with themes, figures and myths to the fantastic.

The concept of vampire effect in advertising appears to be underresearched by marketing specialists. In the race for getting attention of target audience advertisers often use special attention-getting devices. This in turn exposes them to a higher risk of creating a vampire effect when the core message about the brand or a product is eaten up by such devices. Therefore this study provides deepeer insights into the vampire effect occurences. A deductive approach is used. First secondary literature review on preconditions of vampire effect occurrences and various types of vampire effect is covered. Primary data collection and analysis is performed next. This part is narrowed down to researching vampire effect risks when using celebrities as attention-getting device in printed advertisement. Research tools of this study include an eye-tracking device and a survey of 72 students from the University of Economics in Prague. The research concludes that a significantly higher risk of creating a vampire effect exists when using an unrelated attention-getting device. Marketers are advised to use related celebrities if choosing to stick to the attention-getting device approach. However, the concept of "relatedness" should be effectively pre-tested prior to advertising campaign start.

In recent years, the figure of the vampire has proliferated in American literature and media. According to Stephen King, creatures of horror such as vampires appear cyclically in cultural representations to exorcise social anxieties and to cope with periods of acute crisis. In Nina Auerbach’s view, vampires are powerful representations of social critique who adapt themselves to different cultures and historical times. Against this background, I will analyze how the modern American vampire intersects with contemporary American culture in the TV series True Blood. Because the setting of this media text is the American South, my approach will be regional. I will highlight the characteristics of this area of the United States by discussing the different cultural values embodied by the Southern vampires. I will investigate how the representation of these modern vampires is an expression of the American regional past due to its connections with an important historical moment: the American Civil War. This framework will help me explain why regional vampires embody specific cultural values, and I will show how these characters are peculiar because they offer opposite portrayals simultaneously produced within the same culture. In order to highlight the cultural aspects emerging from True Blood, I will frame my analysis through the lenses of capitalism and race. These two focal points will allow me to discuss contemporary American culture and its contradictions.

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Thesis advisor: Marjorie Howes / This project explores Dracula's many shifting guises and identities, chiefly examining them through an Irish/Mytho-Celtic lens. Among these are Dracula's role as conqueror, mythical Celtic figure, sexual liberator, imperialist, aristocrat, landlord, victim and agent of imperialism. Although Dracula's nature and his portrayal in the novel is often contradictory, this project seeks to acknowledge the contradictions while at the same time pushing beyond them to get at the, for lack of a better phrase, soul of Dracula's character. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.