Images of rural activities become very popular in mosaic floor decoration in the Levant during the Late Antique period. I aim to explore different categories of iconography and discuss the images of people engaged in rural activities, such as pastoralism; hunting, fishing and activities connected with the vintage. I also aim to look at imagery that is often discussed in isolation without relation to other connected iconographic categories. The symbolic meaning of the representations of the zodiac found in synagogues, for example, is often discussed in detail without also looking at the rural calendars that appear in Christian contexts during the same period in the same region. I also want to explore the archaeological evidence for the activities that appear on the mosaic pavements. Studying both the archaeology and the iconography will, I hope, help us understand what the use of these particular categories of iconography in decorative schemes can tell us about the society that created them.

San Francisco 1987. Kerry O’Brien, a brilliant high school senior and social deviant, believes the Zodiac serial killer, long quiet after years of terrorizing the Bay Area, is trying to communicate with him. When the Zodiac appears to Kerry one evening, and conscripts Kerry to kill for him in exchange for Kerry’s beloved ex-nanny’s life, Kerry must decide whether to embrace his deviant nature or suffer the consequences. The lives of six other Bay Area dwellers intersect with Kerry’s: Sal Palmieri, a Catholic priest disillusioned by the origins of his faith; Joan Evenhouse, a Sister who longs for a human touch; Ellen Fischer, a jilted wife and painter determined to reclaim her art; Harry Fischer, a public finance attorney caught between Ellen and a beguiling young associate; Gabriel Fischer, a teenage obsessive-compulsive who has lost the will to live in the wake of a homosexual romance gone wrong; and Janet Fischer, a professional photographer on the brink of a career breakthrough whose life becomes complicated when an eccentric treasure seeker unexpectedly intrudes. THE BEAUTIFUL ONES GO FIRST explores the question of who watches over us, and if we are ever truly safe, even in our own skin.

This paper seeks to examine the ancient Kemetic science known today as astrology and discern its usefulness in benefiting people of African descent in the contemporary era. Based upon documented historical evidence, research material, and theorization apprehended from an Afrocentric standpoint the author is attempting to succinctly present a body of scientific knowledge that can develop and advance the idea of astrology as a wholistic human endeavor conceived in ancient Africa which can be and has been useful to Africa and her people. Astrology has helped humanity to make sense of life, nature, seasons, movements of times, powers and is included within the discipline of astronomy, one the seven liberal arts, including, grammar, rhetoric, philosophy, logic, geometry, mathematics and the arts. These ancient disciplines are a necessary part of each other and are studied holistically, even today. However, Europeanization has created a problem in translating these ancient African ideas, castigating its intrinsic feminine elements, separating its mythological aspects from its astronomical parts, and despiritualizing the science. Using Cheikh Anta Diop’s Two Cradle Theory, that cultures distinguish humans and behavior, it will be argued that cultural orientation is a fundamental reason why Europeans have struggled from antiquity to the present to understand astrology, a science birthed from African culture. Moreover, it is argued that owing to the deep structure of culture, people of African descent can study ancient African episteme to awaken cultural memory to understand values and beliefs and potentially (re)turn (Sankofa) to the past and comprehend and appreciate a science culturally grounded in African episteme. Ultimately, it is hoped that in this translation of astrology, which embraces the significance of Ma’at in all life and existence, it is possible through viewing astrology in its ancient light, to restore Ma’at or balance, harmony, order, righteousness, and truth in the lives of people of African descent. The ultimate goal would be to foster peace, Ma’at among humanity. / African American Studies

I detta arbete har jag haft för avsikt att utmana mina färdigheter i komposition. Detta gjorde jag genom att sätta upp ramar i form av stjärntecken att hålla mig inom. I genomförandet av undersökningen har jag läst horoskop från diverse tidningar och utefter dessa texter improviserat fram melodiskt och harmoniskt material för att skapa fyra låtar. Även stjärntecknets astrologiska ”personlighet” har vävts in i kompositionerna. Namnen på låtarna är Fiskarna, Vågen, Oxen och Skytten. Varje låt är baserat på stjärntecknet med samma namn. Arbetet resulterade även i en femte låt som bär namnet Zodiac och är en sammanfattning av de andra fyra styckena. Målet för kompositionerna var att skrivas i genren frijazz. Jag har därför lyssnat mycket på den sortens musik för att få inspiration under arbetets gång. Även grupper som rör sig inom modern jazz har givit mig oväntat många idéer för fria improvisationskoncept. Jag har också utmanat min kompositions frekvens, delvis genom att skriva de fem låtarna på nio dagar och även försöka att inte överarbeta det jag skrivit. Med detta arbete hoppas jag kunna inspirera andra kompositörer till att utforska nya typer av kompositionsmetoder och skapa annorlunda tankesätt som kan inspirera nya fantastiska melodier och konstverk.

Software-Defined Networking (SDN) is a network architecture that differs from traditionalnetwork planes. SDN has tree layers: infrastructure, controller, and application. Thegoal of SDN is to simplify management of larger networks by centralizing control into thecontroller layer instead of having it in the infrastructure. Given the known advantages ofSDN networks, and the flexibility of cloud computing. We are interested if this combinationof SDN and cloud services affects network performance, and what affect the cloud providersphysical location have on the network performance. These points are important whenSDN becomes more popular in enterprise networks. This seems like a logical next step inSDN, centralizing branch networks into one cloud-based SDN controller. These questionswere created with a literature studies and answered with an experimentation method. Theexperiments consist of two network topologies both locally hosted SDN (baseline) and cloudhosted SDN. The topology used Zodiac FX switches and Linux hosts. The following metricswas measured: throughput, latency, jitter, packet loss, and time to add new hosts. Theconclusion is that SDN as a cloud service is possible and does not significantly affect networkperformance. One limitation with this thesis was the hardware, resulting in big fluctuationin throughput and packet loss.

Cette thèse porte sur la question de la figuration des signes du Zodiaque entre Antiquité et Moyen Âge et en particulier dans les églises entre le XIe et le XIIIe siècle. Le cœur de cette thèse est l’analyse d’un corpus de 260 occurrences des signes du Zodiaque et Occupations des mois, qu’ils soient associés ou non, au sein de la décoration ecclésiale entre le XIe siècle et la fin du XIIIe siècle. Cette période correspond à la « renaissance » et à l’essor de la figuration du Zodiaque dans un tel contexte. L’étude est organisée en trois parties. La première est consacrée à l’historiographie, à la présentation du corpus réuni, puis aux origines, réappropriations et transmissions de la tradition zodiacale entre Antiquité et Moyen Âge. La deuxième partie envisage la répartition du Zodiaque dans l’édifice ecclésial. Sa place dans le décor extérieur et en lien avec le thème de la Porta coeli est discutée avant de passer à sa place dans la structuration du décor intérieur. Du sol à la voûte en passant par les chapiteaux, piliers et arcs, la distribution des signes du Zodiaque dans l’espace ecclésial est analysée au regard des dynamiques liées aux notions de transitus et d’iter et à une certaine polarisation du lieu ecclésial. La troisième partie commence par aborder les enjeux de la figuration des signes zodiacaux dans leurs rapports dynamiques avec les Occupations des mois. Ensuite, la re-sémantisation chrétienne de chacun des signes du Zodiaque est observée grâce à une mise en série des occurrences du corpus. Enfin, l’ensemble se conclut par une approche synthétique mettant en lumière les articulations entre ciel et terre traduites par le biais des signes zodiacaux et leur pendant mensuel/terrestre. Leur insertion dans un contexte iconographique plus large lié à l’histoire chrétienne et selon une perspective eschatologique est considérée afin de montrer que les signes du Zodiaque sont comme des opérateurs entre terre et ciel, à la fois dans le lieu ecclésial tendu vers son modèle céleste et dans un contexte iconographique articulant charnel et spirituel, humain et divin. / This dissertation deals with the iconography of the Zodiac between Antiquity and Middle Age, in particular in churches between the XIth and the XIIIth century. The heart of the dissertation is the analysis of a corpus of 260 items. These items concern the figuration of the signs of the Zodiac and the Labors of the months, whether or not combinated, within ecclesial ornamentation between the XIth and the XIIIth century. This period corresponds to the “renaissance” and to the growth of the figuration of the Zodiac in this context. The study is divided into three parts. The first section deals with historiography and with the presentation of the corpus. Then, the origins, re-appropriations and transmissions of the zodiacal tradition between Antiquity and Middle Ages are discussed. The second section considers the distribution of the Zodiac in church. Its role in exterior ornamentation relating to the theme of the Porta coeli and its role in the structuring of intern ornamentation are observed. From the floor to the vault, through capitals, pillars and arches, distribution of the Zodiac in ecclesial space is analyzed in the light of the notions of transitus and iter and in the light of a certain focusing of the ecclesial place. The third section begins with the stakes of the figuration of the zodiacal signs and their dynamic relationship with the Labors of the months. Then, the “re-sémantisation” of each of the zodiacal signs is observed. Finally, the last chapter is an overall view of the connections between heavens and earth which find expression in signs of the Zodiac and the Labors of the months. Their place is considerated according to their iconographical context linked to Christian history and from an eschatological perspective. Signs of the Zodiac are like operators between heavens and earth, both in the ecclesial space tented towards its celestial model and in an iconographical context which connect caro and spiritus, the Human and the Divine.

This thesis contains an introduction to astrology and zodiac in theoretical part. It represent zodiac during the art history and discusses its symbolic meaning as a whole and its individual signs. Furthermore, affects the issue of language art forms in the psychology of art. The practical part of thesis is focused on objects realization, they result from combination of shape elements and importance of astrological signs. The outcome of this part of work is set of 12 ceramic objects.

Ce mémoire a comme objectif premier, l’étude du film d’enquête sur les tueurs en série. Plus spécifiquement, le mémoire examine le cas du film Zodiac réalisé par David Fincher en 2007. En procédant par analyses comparatives portant sur la structure narrative, les thématiques et les mécanismes de réception du film d’enquête, nous avons tenté de mettre en lumière des hypothèses quant à l’insuccès commercial de Zodiac. La première section de l’étude examine la spécificité et les fonctions propres au film d’enquête sur les tueurs en série et parvient ainsi à tirer la conclusion qu’il prévaut de catégoriser ce corpus d’œuvres comme un sous-genre du film policier. Nous avons étudié la fonction sociale et médiatique des archétypes filmiques du tueur et de l’enquêteur afin d’atteindre une meilleure compréhension de la fascination du public américain pour ce sous-genre. La seconde section du mémoire examine comment Zodiac se détache des conventions génériques et, particulièrement, comment la mise en scène opère une démystification de la figure du tueur en série. De plus, nous avons soulevé le traitement particulier déployé par Zodiac, soit la monstration, par le biais des personnages, du travail spectatoriel de mise en récit de l’enquête. La troisième section vise à démontrer la rupture de l’horizon d’attente du spectateur chez Zodiac ainsi que la chute de l’imaginaire mythique qui est ainsi engendré. / This memoir’s main concern is the study of the serial killer movie and, more specifically the case of Zodiac directed by David Fincher in 2007. By proceding with comparative analysis concerning the structure, the themes and the public’s reception, we are able to highlight key elements that may explain Zodiac’s commercial failure. In the first section, we study the elements that are specific to the serial killer movie. Hence, we are able to conclude that this film corpus would be best categorised as a sub-genre of the crime film genre. Furthermore, we study the social and media purposes of the serial killer and detective archetypes to acheive a better understansding of the american public’s fascination towards this sub-genre. The second section investigates how Zodiac breaks away from the generic conventions and how the film narrative demystifies the serial killer figure. We have also brought up the film peculiar form, which, via the characters, illustrates the spectatorial process of mise en récit . The third section studies the way Zodiac establishes a rupture in the spectator’s expectations of the sub-genre and provokes the fall of its collective imagery.

Friedrich Armand Strubberg’s semi-autobiographical novel Friedrichsburg, published in Germany in 1867, is a fountain of information about the German settlements in the Hill Country of Texas established in the years 1844-1848 by a corporation of German noblemen. The noblemen safely ensconced in their comfortable estates in Germany attempted to live up to their responsibilities and supply the settlers with basic needs, but their efforts fell woefully short. In consequence, the immigrants often were thrown upon their own devices and compelled to live from what they could learn to grow or hunt in a new land with unfamiliar climate, plants, and animals. Many hundreds perished from disease, exposure, and malnutrition. But after a painful period, the German settlements took root and began to prosper; lending a Germanic stamp to the Hill Country area of Texas that persists to the present day. In Friedrichsburg, the reader encounters many dramatic stories attendant to the foundation years of Fredericksburg, Texas, 1846/1847 when Friedrich Armand Strubberg, under the assumed name Dr. Schubbert, served as the first colonial director of the town. The situations are presented vividly and entertainingly, and although the book offers a romanticized and, in this sense, a sanitized version of the immigrants’ travails, I maintain that it contains historically accurate depictions of people and events that have been largely overlooked in other accounts of the period. The dissertation offers the first complete translation of the novel. An introduction provides an overview of German immigration in Texas, a short biography of Friedrich Armand Strubberg, and a discussion of his place in literature about Texas published in Germany in the nineteenth century. Extensive endnotes document names and episodes as they appear in the text and distinguish between what is fact and what is fiction in the novel. A bibliography of works published about Texas in the nineteenth century is supplied as an appendix. / text

Ce mémoire a comme objectif premier, l’étude du film d’enquête sur les tueurs en série. Plus spécifiquement, le mémoire examine le cas du film Zodiac réalisé par David Fincher en 2007. En procédant par analyses comparatives portant sur la structure narrative, les thématiques et les mécanismes de réception du film d’enquête, nous avons tenté de mettre en lumière des hypothèses quant à l’insuccès commercial de Zodiac. La première section de l’étude examine la spécificité et les fonctions propres au film d’enquête sur les tueurs en série et parvient ainsi à tirer la conclusion qu’il prévaut de catégoriser ce corpus d’œuvres comme un sous-genre du film policier. Nous avons étudié la fonction sociale et médiatique des archétypes filmiques du tueur et de l’enquêteur afin d’atteindre une meilleure compréhension de la fascination du public américain pour ce sous-genre. La seconde section du mémoire examine comment Zodiac se détache des conventions génériques et, particulièrement, comment la mise en scène opère une démystification de la figure du tueur en série. De plus, nous avons soulevé le traitement particulier déployé par Zodiac, soit la monstration, par le biais des personnages, du travail spectatoriel de mise en récit de l’enquête. La troisième section vise à démontrer la rupture de l’horizon d’attente du spectateur chez Zodiac ainsi que la chute de l’imaginaire mythique qui est ainsi engendré. / This memoir’s main concern is the study of the serial killer movie and, more specifically the case of Zodiac directed by David Fincher in 2007. By proceding with comparative analysis concerning the structure, the themes and the public’s reception, we are able to highlight key elements that may explain Zodiac’s commercial failure. In the first section, we study the elements that are specific to the serial killer movie. Hence, we are able to conclude that this film corpus would be best categorised as a sub-genre of the crime film genre. Furthermore, we study the social and media purposes of the serial killer and detective archetypes to acheive a better understansding of the american public’s fascination towards this sub-genre. The second section investigates how Zodiac breaks away from the generic conventions and how the film narrative demystifies the serial killer figure. We have also brought up the film peculiar form, which, via the characters, illustrates the spectatorial process of mise en récit . The third section studies the way Zodiac establishes a rupture in the spectator’s expectations of the sub-genre and provokes the fall of its collective imagery.