Fem kvinnor som regelbundet utövar yoga har intervjuats för att undersöka hur deras uppfattning av ekologisk hållbarhet ser ut. Trots att samtliga intervjuade är uppväxta i olika länder - Sverige, Schweiz, Singapore, Filippinerna - är deras svar i hög grad överensstämmande ​med varandra. Det är värt att observera att svaren även stämmer väl överens med nyheter som rapporteras i media. De intervjuade har gett beskrivningar av de bekymmer de ser i miljön samt vilka initiativ de personligen tar till för att minska miljöförstörelse. Störst är temat för konsumtion / överkonsumtion, följt av reducering och återvinning. Det är möjligt att svaren är påverkade av media. Palmolja nämns inte under någon av intervjuerna trots att 3/5 av de intervjuade nämner avskogning / habitatdegradering som ett problem.

In this thesis, the concept of style transfer for visual storytelling is introduced. Style transfer for visual storytelling is the process of identifying a definitive style of a source, such as an artist or culture, and applying the features of that style to a target, such as a character which has a different style. As a proof of concept, the style of the American film director Tim Burton is transferred to a character from Hindu mythology, Yamah. The style transfer is done based on the concept of 'Pattern Language' introduced by Christopher Alexander et al., in his book, 'A Pattern Language'. A set of patterns is developed based on the source and target. The target is then designed based on the patterns. The design is then visualized in a suitable medium.

La roue des existences, image célèbre du bouddhisme himalayen, représente les différents mondes de renaissances, les causes et mécanismes de leurs enchaînements, elle illustre enfin la possibilité d’échapper au cycle samsarique. Les dates, la situation géographique, les emplacements des représentations, comme leur complexité et leur variété, suscitent de nombreuses questions qui nous ont conduit à étudier les textes canoniques anciens qui en posent les bases, à analyser les nombreux concepts représentés, mais aussi et surtout à examiner l’iconographie d’un corpus de soixante-dix-neuf roues réparties sur le territoire de quatre pays : l’Inde, le Népal, le Bhoutan et la Chine. Nos observations, résultat d’un long travail sur l’ensemble des informations et des thèmes contenus dans chaque roue, permettent de constater que la roue de la vie était connue dans un vaste territoire qui dépassait largement le monde himalayen, que sa fonction a évolué pendant une période de plus de quinze siècles, qu’il s’agit d’un thème très ancien toujours d’actualité, dont les variations révèlent le degré d’initiative des peintres et témoignent parfois d’ interprétations doctrinales différentes, reflétant des talents divers et le souci systématique de différencier chaque oeuvre des autres peintures. / One of the most famous images of Himalayan Buddhism is the wheel of existence (bhavacakra); it represents the various worlds of rebirths, the causes and mechanisms of their sequences and finally it illustrates the possibility of escaping the samsaric cycle. The age, the geographic situation, the complexity, the location and the variety of the representations raise many questions which lead to study the old canonical texts on which they are based, to analyze the many concepts represented, but also and especially examin the iconography of a corpus of seventy nine wheels to be found over the territory of the four countries which are today, India, Nepal, Bhutan and China. A long and extensive study of the vast amount of information contained in each wheel, makes it possible to say that the wheel of existence was known in a very large territory which greatly exceeded the Himalayan area, that its function evolved over a period of more than fifteen centuries, that it is a very old topic still relevant today and, that the works and the initiatives of the painters reveal variations which show their degrees of initiatives, sometimes different doctrinal interpretations, but also different talents and the systematic concern to be different from each other.

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本論文以川端康成的《山之音》《湖》《睡美人》《蒲公英》為切入視點，考察川端康成老人文學中老年的生(性)。 本論之中心課題乃以川端處女作的《十六歲的日記》(1918)為首，歷經《伊豆的舞孃》《雪國》《千羽鶴》《睡美人》等名作，到未完成的遺作《蒲公英》(1968)為止，考察川端在作品世界究竟是以何種形式，將透過末期之眼所映照出之逸脫的自然來具體呈現、使其達成變化。 本論文由六個章節所組成，第一章闡述研究動機、研究方法，第二章著眼於四部作品中具體呈現的魔界空間性、脫離現實之程度、魔界之異空間及置身其中 之老人間的關係性，並嘗試分析各個相異的特徵。第三章則探討自覺到衰老之老人自我意識，與凝視老人之衰老的他者視線兩者間如何產生交疊與共鳴。第四章則是剖析老人在非日常性的魔界空間中，藉由各種聲音表現來對抗面對死亡的恐懼，並以此作為對冥界的線索，進而跨越、試圖達成生命回復之身影。在第五章則論述老年的情慾感覺如何捕捉與老人有性關係的女性身體並掌握其表徵，再根據西格蒙德‧佛洛伊德的《性理論三篇》、《夢之解析》來闡述老人之擬似性行為與夢的意涵。 / This dissertation is viewed from the works of Yasunari Kawabata─ "Yama no Oto", "Mitsuumi", "Nemunerubizyo" and "Tanpopo" to discuss the elderly’s spirit(Sexuality) in the Elder Literature. The topic begins with the maiden work of Kawabata─ "Zyuurossai no Nikki"(1918)and goes through his other famous works─ "Izu no Odoriko", "Yukiguni", "Yama no Oto", "Senbaturu", "Nemunerubizyo", and the unfinished work─ "Tanpopo"(1968).This dissertation discusses the manner the author uses in the works’ situation to show and achieve the transcendence which is reflected by “the eye of dying”. The dissertation is composed of six chapters. The first chapter illustrates the motivation, and the methodology. The second chapter focuses on the spatiality in the Makai, the extent of distance from reality, the relationship between the elders and the Makai where they are situated. The differences among the preceding points would also be analyzed. Chapter three points out the self-identity of the elders who are aware of their aging, and shows the overlap and consonance happen between the elders and the onlookers who are observing the aging process. Chapter four would explore how the author manipulates the sound to present the confrontation of fear in death when the elders are in the unusual space of Makai, and how they take the sound for the clues of hell, trying to transcend and achieve the rebirth. In chapter five, the discussion is on the features of how the elders use the erotic affections to attract women who have sexual relations with them and grasp the features of the women’s body. Meanwhile, the theories of Sigmund Freud- "Three Essays on the Theory of Sexuality" and "The Interpretation of Dreams" are used to illustrate the connotation of the elder’s dream and their mock sexual behavior.