Academic literature on the topic 'Projection de genre'
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Journal articles on the topic "Projection de genre":
1
Dergach, Dmytro. "Language intellectualization in new media: evolution of genre paradigm." Current issues of Ukrainian linguistics: theory and practice, no. 44 (2022): 48–67. http://dx.doi.org/10.17721/apultp.2022.44.48-67.
Abstract:
The article verbalizes author's position, concerning the intellectualization of genre system of media communication (as a result of communication forms' changes in modern society) and determines the criteria for its professional analysis. These are linguistic, functional and stylistic, linguocultural and sociolinguistic dimensions of evolution of forms of social communication in mass-media sphere. The research focuses on the non-specific communicative principles of the dynamics of genres in traditional and new media, that, according to extra- and intralinguistic factors, provide different ways of fulfilling the tasks of communicative situation. The paper states actual nowadays medialinguistic aspectology for research of media genres in projection on language functions, realized in communicatively changing mass-media context, associated with psychological time and space of culture. Particular attention is paid to the dynamics of functional markers in genre paradigm of media space through the language and cognitive integration of new / traditional genres (post, comment, stories, giveaway, etc.), that in their functional combination form a macrotext, relevant for media communication nowadays. The author also touches upon discussion issues of modern communicative linguistics and media genre theory, that outline the prospects for further investigations in this scientific field: accuracy of nomination and status of certain genres, relevance / irrelevance of traditional for stylistics of the 2nd half of the 20th century genre factors – according to the modern genres of media communication, the diffuse nature of the intellectualization of mass media genre system, connected with appropriate / inappropriate differentiation of such categories, as hyper-genre, sub-genre, genre variety unit, etc.
2
Stavila, Tudor. "Iraida Ciobanu, in the three hypostases of her self-affirmation." Akademos, no. 4(63) (March 2022): 150–53. http://dx.doi.org/10.52673/18570461.21.4-63.19.
Abstract:
Iraida Ciobanu is one of the few plastic artists for whom her creations are synonymous with the genres she practices in painting – static nature and landscape, the most explored forms in rendering poetry and lyrics. Formed as an artist in the early `90s, the artist is devoted to these two genres throughout the time, approaching the landscape as an appeal to the memory arising from lyrical projections, oriented towards the past, while the static nature is a projection of future emotional states. Her works could reveal the following: the static nature returns to the present, being refreshed up by a unique and distinctive compositional, semantic and chromatic style. Moreover, as a professor of fine arts, as well as a scientific researcher concerned with the evolution of static nature as a genre in the post-war Moldovan fine arts, it ensures continuity. Nature and its inexhaustible beauties fully define the artist in a thematic aspect, she finding unique ways to discover continuity in her canvases.
3
Щітова, С. А., and Т. О. Швець. "MULTIDIMENSIONALITY OF GENRE SYNTHESIS IN CONTEMPORARY MUSICAL ART." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 118–26. http://dx.doi.org/10.33287/22199.
Abstract:
The purpose of the article is to reveal the peculiarities of the phenomenon of polygranism (genre synthesis) and its varieties in contemporary musical art. The methods of the study are based on a combination of historical and theoretical approaches of scientific knowledge. The historical method allows us to trace the origin, flourishing, complication and improvement of the phenomenon of genre synthesis in musical art, first of all, during the postmodern day (the last third of the twentieth century – the beginning of the XXI century). Dialectic, comparative, empirical (observation and generalization) methods of research, and contributes for a deep understanding of the various approaches of modern composers to the combination of signs of different genres in one musical also work are used. The scientific novelty of the research consis in generalizing the views of scientists on the problem of genre synthesis and its projection into contemporary works of Ukrainian music, especially, the concert genre as one of the leading composers (among others – Rhapsody Concerto for Viola and Mezzo Soprano Natalia Boyeva). Conclusions. The musical genre as a cultural phenomenon characterizing the classification of musical creativity by genera and species has historical origin and certain conditions of existence; it reveals to the composer the broad style of cultural potential, makes choosing and expanding her spiritual resource, develop and embody new stylistic ways of understanding the musical form. In the genre plane, we can note the constant interaction of traditional and new genres, the emergence of new in accordance to a new imagery, especially at the present stage. The technique of representing musical material and aesthetic demands of the new world stylistics, which gave rise to the emergence thinking both have a permanent impact on the development of the genre palette.
4
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Jurnal POETIKA 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.25994.
Abstract:
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
5
Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious." Poetika 5, no. 1 (July 31, 2017): 51. http://dx.doi.org/10.22146/poetika.v5i1.25994.
Abstract:
This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
6
Dergach, Dmytro. "Linguistic Models of Mass Media Genres` Stylistic Diffusion in the Communicative Space of Ukraine and Bulgaria." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 66, no. 2 (March 15, 2024): 213–27. http://dx.doi.org/10.53656/bel2024-2-7d.
Abstract:
Research attention is focused on fundamental changes in techniques and methods of informing , which activate the communicative capabilities of language and give rise to new genres, forms and formats of interpersonal communication in various spheres and discourses. It actualizes the research problem of the diffuse stylistic nature of mass media genres, argued by the processes of assimilation of public communication`s spheres. The author’s argumentation is based on the vectors of the dynamics of the literary language`s evolutionary potential, that is focused on the format and tasks of social communication. Predictably, the architectonic heterogeneity and polyfunctionality of the language of media texts explain the syncretic nature of the genres. And also the tendency to their constant modification and transformation regarding the structure, meanings and communicative valence of language units. The article interprets models of updating of the functional and stylistic paradigm of modern literary languages in their genre projection and perspective, which do not depend on the time and space of culture. To prove this thesis, the texts of the Ukrainian and Bulgarian media space in the genre of posts in social networks were chosen as the object of analysis. The main research aim is to determine the typicality / atypicality of stylistic diffusion in the genre paradigm of Ukrainian and Bulgarian media. The attention is paid to the bloggers and companies that are well- known in Ukraine and Bulgaria as influencers who make professional activities in the fields of health, beauty, sport, etc., and really model the current mass language consciousness. The research base is formed by texts that were published in the social networks Instagram, Facebook in 2023 – 2024. The functional and stylistic methodology of the mentioned material`s interpretation allows in a comparative discourse to prove the typicality of communicative processes that are resulted in the stylistic diffusion of modern mass media genres.
7
Rozin, Vadim M. "Comprehending Discourse: Challenges of Time, Search, Construction (Book review: G.L. Tulchinskii & M.N. Epstein. (Eds.) Philosophical Projective Dictionary. New Terms and Concepts (Issue 2). Saint Petersburg: Aletheia, 2020)." Russian Journal of Philosophical Sciences 63, no. 12 (March 25, 2021): 121–34. http://dx.doi.org/10.30727/0235-1188-2020-63-12-121-134.
Abstract:
The review discusses the recently published second issue of the Philosophical Projective Dictionary (edited by Mikhail Epstein and Grigorii Tulchinskii). Having encountered difficulties in understanding the articles of the dictionary, I turn to the explanations of the motives of the dictionary’s authors and editors Epstein notes that the entries in the dictionary are not intended to generalize the already existing use of terms and concepts, but to kind of projecting and anticipating the meanings of concepts and texts that may be created in the future. Tulchinskii writes more modest, asserting the performative nature of the concepts and ideas presented in the dictionary. I discuss these explanations of the compilers of the dictionary, problematizing and testing the strength of their arguments. In particular, I doubt that Epstein is right when speaking of the projection of terms and texts. From my point of view, Epstein uses the concept of projection in a very broad sense, which does not allow to accept his statement. In turn, citing a case from personal practice, I expresses my own version of introducing terms and constructing new concepts. Agreeing with Tulchinskii’s opinion that the articles in the dictionary and the dictionary itself are a unique vision of their authors, I raise the question of the existence of projective dictionary as a specific genre. I note that the dictionary’s entries that are devoted to already known concepts, offer an up-to-date modern interpretation of these concepts. To demonstrate that, I consider the concept of man in an article by Yulia Shichanina. At the end of the review, the importance of the work done by the authors of the dictionary is emphasized and an example of the use of two terms from the dictionary in my practice is given.
8
Sampson, Chris. "Developing projection in student songwriters: Writing popular songs that are actually popular." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 105–11. http://dx.doi.org/10.1386/jpme.3.1.105_1.
Abstract:
An important turning point in the development of a young songwriter occurs when they transition from writing songs that might only be meaningful to themselves to writing songs with the intention of connecting to a wider audience. This accomplishment can be described as a student achieving good projection through their songs. More specifically, good projection in songwriting happens when student’s successfully leverage elements of the craft that effectively produces audience participation through groove, melody, form and lyrics. An artist’s persona can also contribute significantly to connecting with a wide audience through their unique and compelling performance style. Through understanding these elements, songwriting instructors at all levels can craft lessons that focus on these fundamentals with the explicit goal of improving projection in their students writing. Furthermore, the concept of projection helps create baseline criteria for the assessment of songs in the classroom regardless of genre or subgenre.
9
Lejeune, Pierre. "The Epistemic Status of Predictions in Central Bank Reports: A Cross-Linguistic Study." International Journal of Business Communication 55, no. 3 (June 20, 2018): 357–82. http://dx.doi.org/10.1177/2329488418768691.
Abstract:
This study aims to analyze the strategies of hedging in a prototypical speech act in economic communication—that is, predictions. The analyzed genre is that of central bank projections. We have used a parallel corpus of four reports (one European Central Bank report and three national bank reports) written in English, French, Spanish, and Portuguese. The analyzed documents are multimodal (having text, tables, and charts). At a global level, hedging arises from external assumptions that limit the validity of the predictions and from the fact that generally the text does not give direct predictions but rather reports projections without assuming or attributing explicit responsibility regarding their validity. At the microlinguistic level, the epistemic marking of predications about the future is extremely complex, due to the phenomenon of grammatical metaphor. The cross-language analysis shows that because of language idiosyncrasies, the degree of endorsement of the typical utterances about prediction/projection varies between the reports.
10
Tribalat, Michèle. "Une surprenante réécriture de l'histoire." Population Vol. 52, no. 1 (January 1, 1997): 137–47. http://dx.doi.org/10.3917/popu.p1997.52n1.0147.
Abstract:
Résumé Tribalat (Michèle).- Une surprenante réécriture de l'histoire des projections de population étrangère Dans cet article l'auteur donne une autre vision de l'histoire des projections de populations étrangères des années 1980, qui diffère sensiblement de celle proposée par Hervé Le Bras. Ce dernier a dirigé, en 1979-1980, un travail pour le compte du Haut Comité de la Population qui constitue un exemple du genre de ce qu'il ne faut pas faire. Aux erreurs méthodologiques (retours d'étrangers en nombre absolu aboutissant à des populations négatives, définition restrictive de la nationalité au départ de la projection, puis extensive ensuite), s'ajoutaient des erreurs de calcul conduisant à des résultats erronés. Dans l'article qui précède, Hervé Le Bras utilise divers subterfuges pour réhabiliter ce travail dont il n'ose avouer qu'il était responsable. Le maquillage de ce mensonge originel le conduit à recourir une nouvelle fois à une conception biologisante de la population étrangère - pratique dont il se fait pourtant, en toute circonstance, le fervent pourfendeur.
Dissertations / Theses on the topic "Projection de genre":
1
Carrel, Thomas. "Le Modèle de la Projection de Genre : un modèle explicatif du plafond de verre, de l'effet de backlash,et de la falaise de verre." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCH034.
Abstract:
Ce travail de thèse a pour objectif de comprendre trois phénomènes de genre en entreprise au regard d’un seul modèle : le Modèle de la Projection de Genre (MPG). Le phénomène du plafond de verre (Kanter, 1977 ; Cook & Glass, 2014) met en avant deux explications cognitive à la sous-représentation des femmes aux postes de directrices : le Think Manager – Think Male (Schein, 1973, 1975) et le lack-of-fit model (Heilman, 1983). Les femmes ne posséderaient pas les bonnes caractéristiques pour devenir directrices, au contraire des hommes. Cependant, si les femmes se présentent avec les caractéristiques adéquates, elles vivront un effet de backlash (Rudman, 1998) : elles ne seront pas choisies pour être directrices car elles sont contre-normatives à leur groupe de genre. Le rôle des femmes (Eagly & Karau, 2002) n’est pas de diriger une entreprise ou une équipe. Néanmoins, sous certaines conditions, les femmes voient leurs chances d’obtenir un poste de directrice augmenter : c’est le phénomène de la falaise de verre (Ryan & Haslam, 2005). Lorsque l’entreprise est dans une position précaire, une femme et les caractéristiques féminines seront alors préférées pour diriger. De nouveaux, des explications cognitives sont avancées : Think Crisis – Think Female (Ryan et al., 2011 ; Gartzia et al., 2012) et Think Crisis – Think not Male (Bruckmuller & Branscombe, 2010 ; Ryan et al., 2011). Le MPG propose une seule explication cognitive et motivationnelle basée sur l’Approche de l’Identité Sociale (Haslam, 2004) et le Modèle de la Projection de l’Endogroupe (Wenzel et al., 2007) à ces trois phénomènes. Le MPG montrent que les hommes projettent plus de caractéristiques masculines sur le prototype du directeur que les femmes (Chapitre 3) et cette projection est modéré par la situation de l’entreprise (Chapitre 4). Et c’est cette élaboration du prototype du / de la directeur.rice qui permet l’évaluation d’un.e candidat.e conforme (Chapitre 3). Lorsqu’une femme est non conforme à son groupe de genre (Chapitre 5), nos résultats soutiennent partiellement la projection de genre comme mécanisme explicatif de l’effet de backlash. Néanmoins, cela ne semble pas être le cas pour un homme non conforme à son groupe de genre (Chapitre 6)This dissertation aims to understand three gender phenomena in business with regard to a single model: the Gender Projection Model (GPM). The glass ceiling phenomenon (Kanter, 1977; Cook & Glass, 2014) puts forth two cognitive explanations for the underrepresentation of women in director positions: the Think Manager - Think Male (Schein, 1973, 1975) and the lack-of-fit model (Heilman, 1983). Women would not have the right characteristics to become managers, while men would. However, if women present themselves with the right characteristics, they will experience a backlash effect (Rudman, 1998): they will not be chosen to be directors because they are counter-normative to their gender group. The role of women (Eagly & Karau, 2002) is not to lead a company or a team. Nevertheless, under certain conditions, women's chances of obtaining a managerial position increase: this is the glass cliff phenomenon (Ryan & Haslam, 2005). When the company is in a precarious position, a woman and female charecteristics will be preferred to lead. Again, cognitive explanations are offered: Think Crisis - Think Female (Ryan et al., 2011; Gartzia et al., 2012) and Think Crisis - Think not Male (Bruckmuller & Branscombe, 2010; Ryan et al., 2011). MPG offers a single cognitive and motivational explanation based on the Social Identity Approach (Haslam, 2004) and the Ingroup Projection Model (Wenzel et al., 2007) to these three phenomena. The MPG shows that men project more masculine characteristics onto the manager prototype than women do (Chapter 3) and this projection is moderated by the company's situation (Chapter 4). And it is this elaboration of the prototype of the manager that allows the evaluation of a normative applicant (Chapter 3). When a woman is non-normative to her gender group (Chapter 5), our results partially support gender projection as an explanatory mechanism for the backlash effect. However, this does not seem to be the case for a gender non-normative man (Chapter 6)
2
Anthérieu-Yagbasan, Caroline. "Le personnage dans l'oeuvre de Stefan Zweig : enjeux esthétiques et narratifs." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3022.
Abstract:
La plupart des problématiques évoquées en esthétique au XXIe siècle tournent autour de la question du personnage de fiction. Dans ce cadre, cette étude essaie d'examiner comment les stratégies esthétiques et la poétique de la réception sont liées, à travers l'œuvre d'un auteur autrichien, Stefan Zweig, qui écrivit non seulement un grand nombre de récits fictionnels (essentiellement des nouvelles et romans), mais également des essais historiques et géographiques. Sa poétique du récit construit des situations de communication, comme le récit enchâssé, dans lesquelles le lecteur est invité à s'impliquer, face à un personnage dont les propres mots forment la seule version des faits racontés dans la fiction. Dans le même ordre d'idée, les personnages, qu'il soient héros de fiction ou de biographie, sont souvent placés dans une situation de crise, qui à la fois révèle une destinée intérieure et se présente comme une conséquence inéluctable de leurs actes. Tous les éléments de leur vie et de leur personnalité convergent donc, et s'expliquent les uns les autres, comme si les personnages de Zweig devenaient des êtres totalement cohérents. En conclusion, il semblerait que les personnages de biographie s'inscrivent dans les problématiques touchant également la fiction, et même qu'ils appartiennent à la catégorie des personnages de fiction ; il sera donc productif de leur appliquer les outils de la critique narrative, par exemple en ce qui concerne la perspective du lecteur et les mécanismes affectifs de projectionMost of the aesthetics questions of the XXIst century are focalised on the issue of fictional character. In this frame, this study try to examine how aesthetical strategies and poetics of reception are connected through the case of an austrian author, Stefan Zweig, who wrote not only a lot of fictional narratives (essentially short stories and novels), but also historical and geographical essays.His narrative poetic draw situations of communication, like framed narrative, in which the reader is invited to implicate himself, face to a character whose words are the only one version of fictional facts. In the same order of ideas, characters, in fiction or in biographies, are often placed in a critical situation, that reveals in the same time an inner destiny and unaffordable consequence of the way they act. So all elements of life and personnality are convergent, and can explain each other, as if Zweig's characters were totally coherent beings. To conclude, it appears that biographical characters have fictional problematics, and more, they belong to the category of fictional characters ; consequently, it is productive to apply to it the tools of narrative critic, for instance in the perspective of reader and affectives mecanisms of projection
3
Laget, Guillaume. "Groupes de Thompson projectifs de genre 0." Université Joseph Fourier (Grenoble), 2004. http://www.theses.fr/2004GRE10086.
Abstract:
Le groupe de Thompson projectif T est l'ensemble des homéomorphismes du bord du disque hyperbolique qui sont PSL2 (Z) par morceaux avec points de rupture rationnels. Pour un sous-groupe T de PSL2 (Z) on peut construire le sous-groupe Tr de T des homéomorphismes T par morceaux, et on se demande si la propriété fondamentale de T d'être de type défini est conservée. Cette étude dépend du genre de la surface associée à T. Le but principal de notre travail est de prouver qu'en genre nul, Tr est de présentation finie (Peter Green-berg a montré qu'en genre strictement positif Tr n'est pas de type fini). Nous commençons par conjuguer Tr à un groupe d'homéomorphismes affines par morceaux dont nous prouvons, à l'aide de groupes de Thompson classiques, qu'il est de type défini. Puis nous donnons une description combinatoire de Tr par des couples de forêts infinies, description qui nous permet de déterminer une présentation infinie régulière du groupe, puis une présentation finieThompson group T is the group of all piecewise projective homeomorphisms of the hyperbolic disk with rational breakpoints. For a subgroup of PSL2 (Z) we can construct a subgroup Tr of T, and we ask if the fundamental property of being of finite type is preserved. This study depends on the genus of the surface associated to T. The main goal of our study is to prove that, in genus 0, T is not finitely generated. We first conjugate T to a group of piecewise affine group of homeomorphisms, and we prove, with classical Thompson groups, that this group is of finite type. Then we give a combinatorial description of T with forests, which permits us to determine an infinite presentation of this group, and then a finite presentation
4
Folgieri, R. "Ensembles based on Random Projection for gene expression data analysis." Doctoral thesis, Università degli Studi di Milano, 2008. http://hdl.handle.net/2434/45878.
Abstract:
In this work we focused on methods to solve classification problems characterized
by high dimensionality and low cardinality data. These features are relevant
in bio-molecular data analysis and particularly in class prediction whith microarray
data.
Many methods have been proposed to approach this problem, characterized by
the so called curse of dimensionality (term introduced by Richard Bellman (9)).
Among them, gene selection methods, principal and independent component analysis,
kernel methods.
In this work we propose and we experimentally analyze two ensemble methods
based on two randomized techniques for data compression: Random Subspaces
and Random Projections. While Random Subspaces, originally proposed by T.
K. Ho, is a technique related to feature subsampling, Random Projections is a feature
extraction technique motivated by the Johnson-Lindenstrauss theory about
distance preserving random projections.
The randomness underlying the proposed approach leads to diverse sets of extracted
features corresponding to low dimensional subspaces with low metric distortion
and approximate preservation of the expected loss of the trained base
classifiers.
In the first part of the work we justify our approach with two theoretical results.
The first regards unsupervised learning: we prove that a clustering algorithm minimizing
the objective (quadratic) function provides a -closed solution if applied
to compressed data according to Johnson-Lindenstrauss theory.
The second one is related to supervised learning: we prove that Polynomials kernels
are approximatively preserved by Random Projections, up to a degradation proportional to the square of the degree of the polynomial.
In the second part of the work, we propose ensemble algorithms based on Random
Subspaces and Random Projections, and we experimentally compare them
with single SVM and other state-of-the-art ensemble methods, using three gene
expression data set: Colon, Leukemia and DLBL-FL - i.e. Diffuse Large B-cell
and Follicular Lymphoma. The obtained results confirm the effectiveness of the
proposed approach.
Moreover, we observed a certain performance degradation of Random Projection
methods when the base learners are SVMs with polynomial kernel of high degree.
5
Stamm, Karl D. "Gene set enrichment and projection| A computational tool for knowledge discovery in transcriptomes." Thesis, Marquette University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10146411.
Abstract:
Explaining the mechanism behind a genetic disease involves two phases, collecting and analyzing data associated to the disease, then interpreting those data in the context of biological systems. The objective of this dissertation was to develop a method of integrating complementary datasets surrounding any single biological process, with the goal of presenting the response to a signal in terms of a set of downstream biological effects. This dissertation specifically tests the hypothesis that computational projection methods overlaid with domain expertise can direct research towards relevant systems-level signals underlying complex genetic disease. To this end, I developed a software algorithm named Geneset Enrichment and Projection Displays (GSEPD) that can visualize multidimensional genetic expression to identify the biologically relevant gene sets that are altered in response to a biological process.
This dissertation highlights a problem of data interpretation facing the medical research community, and shows how computational sciences can help. By bringing annotation and expression datasets together, a new analytical and software method was produced that helps unravel complicated experimental and biological data.
The dissertation shows four coauthored studies where the experts in their field have desired to annotate functional significance to a gene-centric experiment. Using GSEPD to show inherently high dimensional data as a simple colored graph, a subspace vector projection directly calculated how each sample behaves like test conditions. The end-user medical researcher understands their data as a series of somewhat-independent subsystems, and GSEPD provides a dimensionality reduction for high throughput experiments of limited sample size. Gene Ontology analyses are accessible on a sample-to-sample level, and this work highlights not just the expected biological systems, but many annotated results available in vast online databases.
6
Ortigas, Galindo Jorge. "Invariants algébriques et topologiques des courbes et surfaces à singularités quotient." Thesis, Pau, 2013. http://www.theses.fr/2013PAUU3011/document.
Abstract:
Le but principal de cette thèse de doctorat est l'étude de l'anneau de cohomologie du complément d'une courbe algébrique réduite dans le plan projectif pondéré complexe dont les composantes irréductibles sont des courbes rationnelles (avec ou sans points singuliers). En particulier, des représentants holomorphes (rationnels) sont obtenus pour les classes de cohomologie. Pour atteindre notre objectif, il est nécessaire de développer une théorie algébrique des courbes sur des surfaces avec des singularités quotient et d'étudier des techniques pour calculer certains invariants particulièrement utiles à travers des Q-résolutions plongéesThe main goal of this PhD thesis is the study of the cohomology ring of the complement of a reduced algebraic curve in the complex weighted projective plane whose irreducible components are all rational (possibly singular) curves. In particular, holomorphic (rational) representatives are found for the cohomology classes. In order to achieve our purpose one needs to develop an algebraic theory of curves on surfaces with quotient singularities and study techniques to compute some particularly useful invariants by means of embedded Q-resolutions
7
Arène, Christophe. "Géométrie et arithmétique explicites des variétés abéliennes et applications à la cryptographie." Thesis, Aix-Marseille 2, 2011. http://www.theses.fr/2011AIX22069/document.
Abstract:
Les principaux objets étudiés dans cette thèse sont les équations décrivant le morphisme de groupe sur une variété abélienne, plongée dans un espace projectif, et leurs applications en cryptographie. Notons g sa dimension et k son corps de définition. Ce mémoire est composé de deux parties. La première porte sur l'étude des courbes d'Edwards, un modèle pour les courbes elliptiques possédant un sous-groupe de points k-rationnels cyclique d'ordre 4, connues en cryptographie pour l'efficacité de leur loi d'addition et la possibilité qu'elle soit définie pour toute paire de points k-rationnels (loi d'addition k-complète). Nous en donnons une interprétation géométrique et en déduisons des formules explicites pour le calcul du couplage de Tate réduit sur courbes d'Edwards tordues, dont l'efficacité rivalise avec les modèles elliptiques couramment utilisés. Cette partie se conclut par la génération, spécifique au calcul de couplages, de courbes d'Edwards dont les tailles correspondent aux standards cryptographiques actuellement en vigueur. Dans la seconde partie nous nous intéressons à la notion de complétude introduite ci-dessus. Cette propriété est cryptographiquement importante car elle permet d'éviter des attaques physiques, comme les attaques par canaux cachés, sur des cryptosystèmes basés sur les courbes elliptiques ou hyperelliptiques. Un précédent travail de Lange et Ruppert, basé sur la cohomologie des fibrés en droite, permet une approche théorique des lois d'addition. Nous présentons trois résultats importants : tout d'abord nous généralisons un résultat de Bosma et Lenstra en démontrant que le morphisme de groupe ne peut être décrit par strictement moins de g+1 lois d'addition sur la clôture algébrique de k. Ensuite nous démontrons que si le groupe de Galois absolu de k est infini, alors toute variété abélienne peut être plongée dans un espace projectif de manière à ce qu'il existe une loi d'addition k-complète. De plus, l'utilisation des variétés abéliennes nous limitant à celles de dimension un ou deux, nous démontrons qu'une telle loi existe pour leur plongement projectif usuel. Finalement, nous développons un algorithme, basé sur la théorie des fonctions thêta, calculant celle-ci dans P^15 sur la jacobienne d'une courbe de genre deux donnée par sa forme de Rosenhain. Il est désormais intégré au package AVIsogenies de MagmaThe main objects we study in this PhD thesis are the equations describing the group morphism on an abelian variety, embedded in a projective space, and their applications in cryptograhy. We denote by g its dimension and k its field of definition. This thesis is built in two parts. The first one is concerned by the study of Edwards curves, a model for elliptic curves having a cyclic subgroup of k-rational points of order 4, known in cryptography for the efficiency of their addition law and the fact that it can be defined for any couple of k-rational points (k-complete addition law). We give the corresponding geometric interpretation and deduce explicit formulae to calculate the reduced Tate pairing on twisted Edwards curves, whose efficiency compete with currently used elliptic models. The part ends with the generation, specific to pairing computation, of Edwards curves with today's cryptographic standard sizes. In the second part, we are interested in the notion of completeness introduced above. This property is cryptographically significant, indeed it permits to avoid physical attacks as side channel attacks, on elliptic -- or hyperelliptic -- curves cryptosystems. A preceeding work of Lange and Ruppert, based on cohomology of line bundles, brings a theoretic approach of addition laws. We present three important results: first of all we generalize a result of Bosma and Lenstra by proving that the group morphism can not be described by less than g+1 addition laws on the algebraic closure of k. Next, we prove that if the absolute Galois group of k is infinite, then any abelian variety can be projectively embedded together with a k-complete addition law. Moreover, a cryptographic use of abelian varieties restricting us to the dimension one and two cases, we prove that such a law exists for their classical projective embedding. Finally, we develop an algorithm, based on the theory of theta functions, computing this addition law in P^15 on the Jacobian of a genus two curve given in Rosenhain form. It is now included in AVIsogenies, a Magma package
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Leyva, Navarro Jose Enrique. "Brand personification through music as brand knowledge : Learning from the perspective of consumers of hip-hop music in Sweden, on the associations of music in sneaker brands." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-14979.
Abstract:
Background. Previous research on the investigation of brand personality (BP) can be found to use the personification metaphor of brands through celebrities, occupations and animals. Brand image research aims to discover the human characteristics attached to a brand. In this regard, the author suggests that as music can tell much of the personality of a person, then it would be possible to know the personality of a brand through music. The rationale behind is that music elicits “extramusical” information, such as emotions, values, dress codes and stereotypes of people; in relation to musical-genres. Purpose. This research aims to explore how music can help to produce brand knowledge. In particular how the extramusical information conveyed by musical-genres can be used as language to talk about the personality of a brand. Methodology. The empirical research was developed within an Interpretive research paradigm to learn from the perspective of consumers of hip-hop music in Sweden, how brand knowledge can be obtained from music as cognitive schema (CS). The data was gathered using a mixed-method research design. Two different projective techniques were employed in group sessions. On one session (N=11), visual collages were used to visually represent the brands using images of musicians and their description with brand personality traits. The second session (N=12) consisted of an associative task using music, followed by the application of the brand personality scale. The interpretation and analysis of findings was done through the triangulation of the methods’ data. Conclusions. The use of music genres as CS to produce brand knowledge can provide insightful information on the lifestyle and type of users that buy, consume or wear the brand. Extramusical information helps understand characteristics of BP through the lifestyle and profile of the musician or music-fan that was associated with the brand. In particular, brand knowledge can be gained in terms of demographic and psychographic characteristics associated to the brand. However, several theoretical implications for further research were identified in order to consolidate the BP/consumer/music relationship.
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Noblecourt, Pauline. "La lumière focalisée dans les spectacles parisiens du XIXe siècle." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2124.
Abstract:
À travers l’analyse d’un vaste éventail de sources techniques (brevets, traités, manuels) et artistiques (pièces de théâtre, relevés et livrets de mise en scène, iconographie), cette étude propose une analyse de l’apparition de la lumière focalisée sur les scènes parisiennes, et des transformations du régime scopique propre au théâtre qu’induit ce nouvel éclairage. À partir des années 1840, en effet, les spectacles (dramatiques, lyriques, ou de danse) mettent régulièrement en scène des « rayons de lumière », produits par des dispositifs optiques (lentille, réverbères), qui permettent de créer une lumière directionnelle et focalisée. Cette étude interroge les bouleversements esthétiques et techniques qui ont mené à l’adoption, puis à la généralisation, de ces effets. Les transformations du paradigme de la vision au XIXe siècle, analysées notamment par Jonathan Crary, permettent en effet de comprendre que les contrastes de lumière, très en vogue à partir des années 1800 notamment dans les mélodrames et les drames romantiques, témoignent d’un changement de paradigme au théâtre : la construction d’un regard sur la scène, par l’emploi de la lumière, s’impose progressivement. C’est dans ce contexte que le motif du rayon émerge dans l’imaginaire romantique, d’abord comme métaphore de la vision et du drame, puis comme effet de lumière mis en scène. À partir des années 1850, l’apparition des premiers projecteurs électriques et oxhydriques permet de multiplier les effets de lumière focalisée, dont les usages se codifient peu à peu. D’une part, la lumière focalisée est utilisée comme dispositif disciplinaire et s’impose comme un moyen de contrôler spécifiquement l’attention portée à la scène, participant en cela au long mouvement de pacification des spectateurs au cours du siècle. Mais elle permet aussi d’aiguiser le regard : le projecteur devient ainsi le moyen d’instrumenter l’oeil du spectateur pour lui donner à voir ce qu’il n’aurait, sans cela, pas remarqué : les détails, les signes, les indices. Ainsi le « rayon » participe-t-il à la mise en place du « paradigme indiciaire » au théâtre, qu’a notamment décrit Jean-Pierre Sarrazac en s’appuyant sur les travaux de Carlo Ginzburg. D’autre part, la lumière focalisée est utilisée pour transformer les corps par la technologie, notamment ceux des créatures fantastiques et des femmes. Elle devient ainsi un instrument de production de l’altérité ; elle permet de produire des corps conformes aux catégories de genre. De ce point de vue, le rayon permet d’amorcer dès les années 1850 une réflexion sur les liens entre lumière et matière. Les praticiens expérimentent alors avec différents usages de la lumière : certains se font sur le mode de l’objectification, telle que définie notamment par Sandra Lee Bartky ;d’autres, particulièrement l’oeuvre de Loïe Fuller, inventent de nouvelles modalités de mise en scène de la focalisation. Le volume d’annexe de cette thèse contient des relevés d’indications de lumière dans des livrets de mise en scène du XIXe siècle, notamment la collection Palianti et les fonds de l’Association de la Régie ThéâtraleThrough the analysis of a wide range of technical sources (patents, treaties, manuals) and artistic sources (plays, “livrets de mise en scène”, iconography), this study proposes an analysis of the emergence of focused light on Parisian stages, and the transformations of the scopic regime specific to the theatre induced by this new lighting. From the 1840s onwards, shows (dramatic, lyrical, or dance) regularly feature "rays of light", produced by optical devices (lenses, streetlights), which make it possible to create directional and focused light. This study examines the aesthetic and technical shifts that led to the adoption and generalization of these effects. The transformations of the paradigm of vision in the 19th century, analysed in particular by Jonathan Crary, make it possible to understand that the contrasts of light, very popular from the 1800s onwards, particularly in melodramas and romantic dramas, testify to a paradigm shift in theatre: the construction of a view of the stage, through the use of light, is gradually becoming imperative. It is in this context that the pattern of the ray emerges in the romantic imagination, first as a metaphor for vision and drama, then as a staged light effect. From the 1850s, the advent of the first electric and limelight projectors made it possible to multiply the effects of focused light, whose uses were gradually codified. On the one hand, focused light is used as a disciplinary device and imposes itself as a means of controlling specifically the attention paid to the stage, thus contributing to the long movement of pacification of the spectators during the century. But it also allows a sharpened gaze: the projector thus becomes the means of instrumenting the spectator's eye to give him to see what he would not otherwise have noticed: the details, the signs, the clues. Thus the "ray" participates in the implementation of the "conjectural paradigm" in the theatre, which Jean-Pierre Sarrazac described in particular on the basis of Carlo Ginzburg's work. On the other hand, focused light is used to transform bodies through technology, especially those of fantastic creatures and women. It thus becomes an instrument for the production of otherness; it allows the production of bodies conforming to gender categories. From this point of view, the ray makes it possible to start thinking about thelinks between light and matter as early as in the 1850s. Practitioners then experiment with different uses of light: some are based on objectification, as defined by Sandra Lee Bartky in particular; others, particularly the work of Loïe Fuller, invent new ways of staging focused light. The appendix volume of this thesis contains lists of light indications in 19th century staging booklets, including the Palianti collection and the collections of the Association de la Régie théâtrale
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Torner, Evan. "The race-time continuum: Race projection in DEFA genre cinema." 2013. https://scholarworks.umass.edu/dissertations/AAI3589196.
Abstract:
This dissertation is a book-length investigation of race representation in three different East German feature film genres produced by the Deutsche Film Aktiensgesellschaft (DEFA): the western (Indianerfilm), the musical, and the science-fiction film. The primary films examined include Osceola (1971), Meine Frau macht Musik (1958), Revue um Mitternacht (1962) and Der schweigende Stern (1960). I specifically articulate how each genre structures a temporality around race politics that tells us more about unique East German conceptions of whiteness, non-whites' role in society and "progress" than it tells us about the objectives of international and interracial solidarity espoused by the state. In the introduction, I discuss the relevant foundations of this study, including the various discourses one must mobilize to explain East German racism and to frame DEFA cinema from a contemporary perspective. In Chapter I, I posit some theories of race and genre that show their historical linkages with regard to film. Chapter II is a historical overview of interactions between East Germany, DEFA cinema and the Global South. Chapter III focuses on the way the western film Osceola views 1830s American racism within a 1970s Marxist-Leninist paradigm that elides opportunities for its Cuban co-production partner or the anti-racist history of the Seminoles to speak. Chapter IV looks at the phenomenon of the musical in East Germany in terms of its production of East German whiteness, as theorized by film theorist Richard Dyer. Chapter V describes science-fiction film Der schweigende Stern in terms of its accomplishment as the first multiracial space crew seen on television or film and the problematic race hierarchies that nevertheless underpin the final product. The conclusion deals with the very notion of "progress," especially with regard to racial equality, and looks at recent German cinema as a site where the discussion initiated by this dissertation might continue.
Books on the topic "Projection de genre":
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Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan Limited, 2015.
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Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan, 2014.
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Dowd, Garin, and Natalia Rulyova. Genre Trajectories: Identifying, Mapping, Projecting. Palgrave Macmillan, 2015.
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Whitesell, Lloyd. Style Modes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0001.
Abstract:
This chapter introduces a new index for the analysis of individual musical numbers, specifically in the genre of film musicals: “style mode,” which refers to background orientations of stylistic treatment in both sonic and visual design. It defines the genre’s primary style modes—ordinary, children’s, burlesque, razzle-dazzle, and glamour—by way of well-known examples and illustrates their effectiveness as analytical categories, providing insight into large-scale planning as well as the meanings projected within individual numbers. Because the projection of a style mode takes place independently of the musical “language” being spoken (e.g., jazz, blues, musical theater, rock), style modes are clearly distinguished from musical topics and idioms.
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Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.
Abstract:
This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.” The incorporation of a realistic dimension into the discourse of musical fantasy preserves an external vantage point for critical reflection—a demystifying impulse in tension with glamour’s mystique.
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Duffett, Mark, and Jon Hackett. Scary Monsters. Bloomsbury Publishing Inc, 2021. http://dx.doi.org/10.5040/9781501313400.
Abstract:
Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more ‘monsters’ than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which leads to issues of familial trauma and psychoanalysis) and shared anxieties (that in turn reflect deeply held ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between the music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.
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Colmeiro, José. Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.001.0001.
Abstract:
Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.
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Arnold, Gordon B. Projecting the End of the American Dream. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798216001980.
Abstract:
This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.
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Merl, Dan, Joseph Lucas, Joseph Nevins, Haige Shen, and Mike West. Trans-study projection of genomic biomarkers in analysis of oncogene deregulation and breast cancer. Edited by Anthony O'Hagan and Mike West. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198703174.013.6.
Abstract:
This article focuses on the use of Bayesian concepts and methods in the trans-study projection of genomic biomarkers for the analysis of oncogene deregulation in breast cancer. The objective of the study is to determine the extent to which patterns of gene expression associated with experimentally induced oncogene pathway deregulation can be used to investigate oncogene pathway activity in real human cancers. This is often referred to as the in vitro to in vivo translation problem, which is addressed using Bayesian sparse factor regression analysis for model-based translation and refinement of in vitro generated signatures of oncogene pathway activity into the domain of human breast tumour tissue samples. The article first provides an overview of the role of oncogene pathway deregulation in human cancers before discussing the details of modelling and data analysis. It then considers the findings based on biological evaluation and Bayesian pathway annotation analysis.
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Sargent, Lyman Tower. Colonial Utopias/Dystopias. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0018.
Abstract:
This chapter explores colonial utopias/dystopias. Utopianism and colonialism have had direct connections from the time Thomas More inadvertently created a genre of literature when he published what is now known as his Utopia, in 1516. Utopia reflected the process of exploration taking place in the early sixteenth century that resulted in the discovery of the lands that were to become colonies. Colonists generally have the expectation of achieving a much better life by settling, while producing an actual dystopia for the original inhabitants. While the colonists did not always find what they expected, they were often led to settle by clearly utopian projections of what life would be like in the new place. Those settlers who had the leisure to write about their hopes for the future in the new place sometimes depicted what that place might look like in the future.
Book chapters on the topic "Projection de genre":
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Kuiper, Koenraad. "Playing a False Part: Projecting and Perceiving Fraudulent identities on the Internet." In Formulaic Genres, 75–91. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230241657_5.
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Tasoulis, Sotiris K., Vassilis P. Plagianakos, and Dimitris K. Tasoulis. "Projection Based Clustering of Gene Expression Data." In Computational Intelligence Methods for Bioinformatics and Biostatistics, 228–39. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-14571-1_17.
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Katzman, R., and P. J. Fox. "The World-Wide Impact of Dementia. Projections of Prevalance and Costs." In Epidemiology of Alzheimer’s Disease: From Gene to Prevention, 1–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 1999. http://dx.doi.org/10.1007/978-3-642-60076-0_1.
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Imai, T., and H. Sakano. "Odorant Receptor Gene Choice and Axonal Projection in the Mouse Olfactory System." In Results and Problems in Cell Differentiation, 25–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/400_2008_3.
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Janfada, Mahtab, Martina Tassone, Marian Mahat, and Nadine Crane. "Reconceptualizing Assessment in Initial Teacher Education from a Relational Lens." In Rethinking Higher Education, 79–96. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8951-3_6.
Abstract:
AbstractThis chapter examines the challenges and possibilities of assessment practices in Initial Teacher Education (ITE) programs. Informed by Bakhtin (1986), speech genres, dialogic approaches and a democratic lens to assessment, the chapter questions the nature and purpose of assessment considering the COVID-19 pandemic. New understanding of the concept of ‘relationality’ through pandemic experience provides opportunities for ‘democratic’ assessment is perceived as a point of departure in the learning process for both students and teachers, and not a destination. This perspective incorporates students’ diverse voices and agency and encourages assessment practices to promote not only instrumental aspects of learning, but also the epistemological and ontological layers of learning and being. Though this conceptual interrogation can be applied to any educational context across programs locally and globally, the focus is on ITE in the Australian context, due to the important role of pre-service teachers in creating and designing assessment practices. The chapter provides case study a example that enabled pre-service teachers to play an active and influential role in the development of assessment artefacts and practices. It concludes by projecting opportunities and challenges to teaching and research practices, locally and globally.
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Yeo, Su-Anne. "Summoning the Ghosts of Early Cinema and Victorian Entertainment." In Practices of Projection, 136–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0009.
Abstract:
This chapter analyses the singularly arresting yet endlessly repeatable appearance via projection of the iconic British supermodel Kate Moss within the recent V&A Museum exhibition Savage Beauty: Alexander McQueen. Originally created for the late fashion designer’s 2006 Widows of Culloden show in Paris, this appearance by Moss was no less rapturously received at the V&A exhibition than it had been at the hologram’s launch almost a decade previously. Drawing upon scholarship in the fields of film history and media history, the chapter argues that the Kate Moss hologram should be conceptualized not as a ‘new’ technology, but as a remediation of older cultural forms and practices such as the Victorian entertainment known as Pepper’s ghost and the genre of early cinema known as the serpentine dance. Subsequently, the chapter examines how the exhibition’s marketing and critical reception helped to construct cultures of appreciation that reinforce dominant and idealist discourses of technology. The chapter argues that contemporary film and media culture cannot be understood without an appreciation of older forms and practices of visual entertainment and amusement.
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"Chapter 1. Improvement’s Genre: Andrew Yarranton and the Rhetoric of Projection." In The Wreckage of Intentions, 23–58. University of Pennsylvania Press, 2018. http://dx.doi.org/10.9783/9780812294453-002.
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McDonald, Terrance H. "Narratives Of Failure: Dead End (1937), The Desperate Hours (1955), and Gangsters in Distress." In ReFocus: The Films of William Wyler, 127–42. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399510462.003.0007.
Abstract:
This chapter evaluates William Wyler's so-called gangster films in relation to existing discourses on the genre and characterizes both films as narratives of distress, through which Wyler reflects socio-cultural issues involving masculinity. Wyler's gangsters do not undergo the same “precipitous rise and fall” as classical gangster-heroes do in early, conventional gangster films. This chapter argues that Wyler's Dead End and The Desperate Hours are also distinguished by the presence of a dual protagonist who represents the hard-working class and undercuts the projection of the gangster as urban hero. Wyler's films are key to understanding the diversity of narrative structures within a genre that is often read as having a monolithic format. Author: Terrance H. McDonald
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Kendrick, Robert L. "Introduction." In Fruits of the Cross, 1–9. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.003.0003.
Abstract:
The introduction uses the opening of a 1697 sepolcro, La Virtù della Croce, to introduce the thematics, dramatic means, performance situations, and visual images typical of the genre. It also explains the relationship of the main court figures to Passion devotion, and it sets out questions to be answered in later chapters about the role of allegorical characters in the dramas, the centrality of musical projection, and the dynasty’s investment—real and figurative—in multimedia penitential spectacle.
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Bonds, Mark Evan. "The Framework of Rhetoric." In The Beethoven Syndrome, 21–37. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.003.0002.
Abstract:
Composers’ lives inevitably shape what and how they write. And just as inevitably, our knowledge of those lives shapes how we hear what they have written. Prior to 1830, however, musical expression was understood not as the projection of an inner self, but rather as an objective construct. For composers, this meant creating works that would move listeners in desired ways. For listeners, this meant evaluating works on the basis of their effect, not on what a given composer might be trying to “say.” With the important exception of the fantasia—recognized already in the mid-eighteenth century as a unique and highly circumscribed genre—listeners did not begin to hear expression as a revelation of the compositional self in any significant way until the second quarter of the nineteenth century.
Conference papers on the topic "Projection de genre":
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Kotropoulos, Constantine, Gonzalo R. Arce, and Yannis Panagakis. "Ensemble Discriminant Sparse Projections Applied to Music Genre Classification." In 2010 20th International Conference on Pattern Recognition (ICPR). IEEE, 2010. http://dx.doi.org/10.1109/icpr.2010.207.
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Gold, Maxwell P., Alexander LeNail, and Ernest Fraenkel. "Shallow Sparsely-Connected Autoencoders for Gene Set Projection." In Proceedings of the Pacific Symposium. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813279827_0034.
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Diaz-Blanco, Ignacio, Jose M. Enguita-Gonzalez, Diego Garcia-Perez, Ana Gonzalez-Muñiz, Abel A. Cuadrado-Vega, Maria Dolores Chiara-Romero, and Nuria Valdes-Gallego. "Interactive dual projections for gene expression analysis." In ESANN 2022 - European Symposium on Artificial Neural Networks, Computational Intelligence and Machine Learning. Louvain-la-Neuve (Belgium): Ciaco - i6doc.com, 2022. http://dx.doi.org/10.14428/esann/2022.es2022-22.
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Bian, Houqin, and Ronal Chung. "Gene Expression Data Classification Using Locality Preserving Projections." In Bioengineering (BIBE). IEEE, 2011. http://dx.doi.org/10.1109/bibe.2011.17.
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Hang, X. "Gene Expression Profile Classification Using Random Projection and Sparse Representation." In 2013 12th International Conference on Machine Learning and Applications (ICMLA). IEEE, 2013. http://dx.doi.org/10.1109/icmla.2013.157.
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Juan Liu and Feng Liu. "Biclustering gene expression data by random projection based on bucketing." In 2008 International Conference on Technology and Applications in Biomedicine (ITAB). IEEE, 2008. http://dx.doi.org/10.1109/itab.2008.4570606.
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Borges, Helyane Bronoski, and Júlio Cesar Nievola. "Dimensionality Reduction in Gene Expression Database through the Random Projection Method." In 2009 International Conference on Machine Learning and Applications (ICMLA). IEEE, 2009. http://dx.doi.org/10.1109/icmla.2009.84.
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Gondara, Lovedeep. "Random Forest with Random Projection to Impute Missing Gene Expression Data." In 2015 IEEE 14th International Conference on Machine Learning and Applications (ICMLA). IEEE, 2015. http://dx.doi.org/10.1109/icmla.2015.29.
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Jiang, Yue, Changjie Tang, Haichun Zheng, Jiaoling Zheng, Chuan Li, Qian Luo, and Jun Zhu. "Mining Projection Transformation Based on Gene Expression Programming of Multi-Variable Niches." In 2008 Fourth International Conference on Natural Computation. IEEE, 2008. http://dx.doi.org/10.1109/icnc.2008.53.
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Munsky, Brian, Slaven Peles, and Mustafa Khammash. "Stochastic analysis of gene regulatory networks using finite state projections and singular perturbation." In 2007 American Control Conference. IEEE, 2007. http://dx.doi.org/10.1109/acc.2007.4283077.
Reports on the topic "Projection de genre":
1
Pavlyuk, Іhor. Культурно-інформаційний простір України в роки німецько-фашистської окупації: за матеріалами україномовної колаборантської преси. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11719.
Abstract:
The purpose of thіs artіcle іs to cover the cultural and іnformatіon space of the western Ukraіnіan lands durіng the Nazі occupatіon: accordіng to the Ukraіnіan-language collaboratіng press іn the context of exіstentіal projectіons on the modern war іn Ukraіne wіth Russіa’s occupatіon of some Ukraіnіan terrіtorіes. The methodologіcal basіs of our study іs the groupіng and іnductіve-deductіve analysіs of the then medіa (іncludіng the press) by place of publіcatіon and genre-thematіc focus (perіodіcals for women, chіldren’s magazіnes, busіness newspapers and magazіnes), the separatіon of іnformatіon-analytіcal neutral and the propaganda paradіgm wіth pro-Ukraіnіan and pro-German, antі-Bolshevіk socіo-polіtіcal vectors: dіstіnguіshіng between “Ukraіnіan-language” and “Ukraіnіan-language” journalіsm, whіch іn the mass medіa turn the press іnto a metatext whose modalіty can be useful and constructіve. (state-buіldіng) and negatіve (destructіve) patterns of functіonіng of the medіa іn the enemy-occupіed terrіtory, when іt іs necessary to fіght on several fronts at the same tіme. Among the research methods used іn the artіcle: comparatіve, phenomenologіcal, psychoanalytіc (probіng archetypes), hermeneutіc, deconstructіvіst, socіo-psychologіcal. The study showed and confіrmed that one of the best іllustratіons of German polіcy іn Ukraіne durіng World War ІІ was the attіtude of the occupіer to relіgіon, Ukraіnіan women, chіldren, and other occupіers, іncludіng the Bolshevіks, as reflected іn the eponymous Ukraіnіan magazіnes (“Ukraіnіan chіld”, “Farmer”, etc.) and, of course, іn theіr content and even formal desіgn, as stated іn the text of the artіcle The obtaіned results allowed us to formulate the followіng conclusіons. An analysіs of the Ukraіnіan-language (collaboratіng) press publіshed іn the western part of Ukraіne іn 1941-1944 convіncіngly proves that only an іndependent, sovereіgn state can claіm authentіcally, deeply іts own, іdentіcal mass medіa. And controlled, because the medіa fіnanced by the occupatіon authorіtіes, although publіshed іn Ukraіnіan, were Ukraіnіan-speakіng іn letter, but German-speakіng іn spіrіt, іe not Ukraіnіan-speakіng, although well-known Ukraіnіan artіsts took part іn the creatіon of these propagandіstіc sources of іnformatіon. sіgnіfіcant names and archetypes of Ukraіnіan culture were engaged at that tіme. Key words: collaboratіng press, propaganda, іdentіty, mass medіa, cultural and іnformatіon space.