Theses and Dissertations from UMD
Permanent URI for this communityhttp://hdl.handle.net/1903/2
New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a give thesis/dissertation in DRUM
More information is available at Theses and Dissertations at University of Maryland Libraries.
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Item Single-View 3D Reconstruction of Animals(2017) Kim, Angjoo; Jacobs, David W; Computer Science; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Humans have a remarkable ability to infer the 3D shape of objects from just a single image. Even for complex and non-rigid objects like people and animals, from just a single picture we can say much about its 3D shape, configuration and even the viewpoint that the photo was taken from. Today, the same cannot be said for computers – the existing solutions are limited, particularly for highly articulated and deformable objects. Hence, the purpose of this thesis is to develop methods for single-view 3D reconstruction of non-rigid objects, specifically for people and animals. Our goal is to recover a full 3D surface model of these objects from a single unconstrained image. The ability to do so, even with some user interaction, will have a profound impact in AR/VR and the entertainment industry. Immediate applications are virtual avatars and pets, virtual clothes fitting, immersive games, as well as applications in biology, neuroscience, ecology, and farming. However, this is a challenging problem because these objects can appear in many different forms. This thesis begins by providing the first fully automatic solution for recovering a 3D mesh of a human body from a single image. Our solution follows the classical paradigm of bottom-up estimation followed by top-down verification. The key is to solve for the mostly likely 3D model that explains the image observations by using powerful priors. The rest of the thesis explores how to extend a similar approach for other animals. Doing so reveals novel challenges whose common thread is the lack of specialized data. For solving the bottom-up estimation problem well, current methods rely on the availability of human supervision in the form of 2D part annotations. However, these annotations do not exist in the same scale for animals. We deal with this problem by means of data synthesis for the case of fine-grained categories such as bird species. There is also little work that systematically addresses the 3D scanning of animals, which almost all prior works require for learning a deformable 3D model. We propose a solution to learn a 3D deformable model from a set of annotated 2D images with a template 3D mesh and from a few set of 3D toy figurine scans. We show results on birds, house cats, horses, cows, dogs, big cats, and even hippos. This thesis makes steps towards a fully automatic system for single-view 3D reconstruction of animals. We hope this work inspires more future research in this direction.Item The Ethics of Eating Animals in Tudor and Stuart Theaters(2016) Wakeman, Rob; Coletti, Theresa; Leinwand, Theodore B; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)A pressing challenge for the study of animal ethics in early modern literature is the very breadth of the category “animal,” which occludes the distinct ecological and economic roles of different species. Understanding the significance of deer to a hunter as distinct from the meaning of swine for a London pork vendor requires a historical investigation into humans’ ecological and cultural relationships with individual animals. For the constituents of England’s agricultural networks – shepherds, butchers, fishwives, eaters at tables high and low – animals matter differently. While recent scholarship on food and animal ethics often emphasizes ecological reciprocation, I insist that this mutualism is always out of balance, both across and within species lines. Focusing on drama by William Shakespeare, Ben Jonson, and the anonymous authors of late medieval biblical plays, my research investigates how sixteenth-century theaters use food animals to mediate and negotiate the complexities of a changing meat economy. On the English stage, playwrights use food animals to impress the ethico-political implications of land enclosure, forest emparkment, the search for new fisheries, and air and water pollution from urban slaughterhouses and markets. Concurrent developments in animal husbandry and theatrical production in the period thus led to new ideas about emplacement, embodiment, and the ethics of interspecies interdependence.Item Humankindness: Illness, Animality, and the Limits of the Human in the Victorian Novel(2016) Cooper, Isabella Lucy; Cohen, William; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This project posits a link between representations of animals or animality and representations of illness in the Victorian novel, and examines the narrative uses and ideological consequences of such representations. Figurations of animality and illness in Victorian fiction have been examined extensively as distinct phenomena, but examining their connection allows for a more complex view of the role of sympathy in the Victorian novel. The commonplace in novel criticism is that Victorian authors, whether effectively or not, constructed their novels with a view to the expansion of sympathy. This dissertation intervenes in the discussion of the Victorian novel as a vehicle for sympathy by positing that texts and scenes in which representations of illness and animality are conjoined reveal where the novel draws the boundaries of the human, and the often surprising limits it sets on sympathetic feeling. In such moments, textual cues train or direct readerly sympathies in ways that suggest a particular definition of the human, but that direction of sympathy is not always towards an enlarged sympathy, or an enlarged definition of the human. There is an equally (and increasingly) powerful antipathetic impulse in many of these texts, which estranges readerly sympathy from putatively deviant, degenerate, or dangerous groups. These two opposing impulses—the sympathetic and the antipathetic—often coexist in the same novel or even the same scene, creating an ideological and affective friction, and both draw on the same tropes of illness and animality. Examining the intersection of these different discourses—sympathy, illness, and animality-- in these novels reveals the way that major Victorian debates about human nature, evolution and degeneration, and moral responsibility shaped the novels of the era as vehicles for both antipathy and sympathy. Focusing on the novels of the Brontës and Thomas Hardy, this dissertation examines in depth the interconnected ways that representations of animals and animality and representations of illness function in the Victorian novel, as they allow authors to explore or redefine the boundary between the human and the non-human, the boundary between sympathy and antipathy, and the limits of sympathy itself.Item Animal Similes and Gender in the Odyssey and Oresteia(2008-05-19) Braff, Johanna Leah; Doherty, Lillian; Classics; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This thesis offers an overview of a selection of the animal similes within the Odyssey and the Agamemnon. I examine the ways in which the animal similes, reverse similes, and overall character portrayal are depicted within each work. I argue that these tools are used in order to reflect the genres of the two works and how neither completely adheres to the expectations of the gender roles, that is, what is expected of the male and female characters. The gender roles are more stable in the Odyssey as Penelope relies on her homophrosune with Odysseus, while the Agamemnon captures the chaos that occurs when the female does not remain within the female sphere.