Academic literature on the topic '1842-1929'

The Afrotropical representatives of the hover fly genus Mesembrius Rondani, 1857 (Diptera) are divided into two subgenera, namely Mesembrius s.s. and Vadonimyia Séguy, 1951 and, in this present work, the subgenus Mesembrius s.s. is revised. A total of 23 Mesembrius s.s. species are recognised for the Afrotropics. Known species are re-described and six species new to science are described: Mesembrius arcuatussp. nov., M. copelandisp. nov., M. longipilosussp. nov., M. sulcussp. nov., M. tibialissp. nov. and M. vockerothisp. nov. Mesembrius africanus (Verrall, 1898) is considered a junior synonym of M. senegalensis (Macquart, 1842), M. ctenifer Hull, 1941 a junior synonym of M. caffer (Loew, 1858), M. lagopus (Loew, 1869) a junior synonym of M. capensis (Macquart, 1842) and M. platytarsis Curran, 1929 a junior synonym of M. simplicipes Curran, 1929. The females of Mesembrius chapini Curran, 1939, M. rex Curran, 1927 and M. regulus (Hull, 1937) are described for the first time. Lectotypes are designated for Mesembrius caffer, M. capensis, M. cyanipennis (Bezzi, 1915), M. minor (Bezzi, 1915), M. senegalensis, M. strigilatus (Bezzi, 1912) and M. tarsatus (Bigot, 1883). Separate identification keys for males and females are presented. We obtained 236 DNA barcodes for 18 species. The relationships amongst the different Mesembrius species are briefly discussed, based on morphological and DNA barcode data.

Opisa is a small amphipod genus including three species: O. eschrichtii (Krøyer, 1842) from the North Atlantic Ocean (Sars 1895; Bousfield 1987), the Arctic Ocean (Bousfield 1987), and the western Pacific Ocean (Stebbing 1906; Derzhavin 1929); O. odontochela Bousfield, 1987 from the southeast Alaska (Bousfield 1987); and O. tridentata Hurley, 1963 from the Pacific coasts of North America (Bousfield 1987). During field survey of the marine benthic fauna of Hokkaido, Japan, one of the authors (KK) collected an undescribed species of Opisa from off the southeast of Akkeshi Bay using a sledge net. This paper describes and illustrates the new species in detail.

This paper presents the general case study of previous works on generalized Boussinesq equations, (Abazari, 2011) and (Kılıcman and Abazari, 2012), that focuses on the application ofG′/G-expansion method with the aid of Maple to construct more general exact solutions for the coupled Boussinesq equations. In this work, the mentioned method is applied to construct more general exact solutions of Boussinesq equation and improved Boussinesq equation, which the French scientistJoseph Valentin Boussinesq(1842–1929) described in the 1870s model equations for the propagation of long waves on the surface of water with small amplitude. Our work is motivated by the fact that theG′/G-expansion method provides not only more general forms of solutions but also periodic, solitary waves and rational solutions. The method appears to be easier and faster by means of a symbolic computation.

Annette Susannah Beveridge (1842–1929) was one of the outstanding oriental scholars of the early twentieth century. The work which established her reputation is her translation of the Bābur-nāma, the autobiographical memoir of the first Mughal emperor, published in 1922 by the Royal Asiatic Society. It was the first English translation from the Chaghatai Turki in which Babur wrote his famous account. A monumental work of scholarship, it is all the more remarkable for having been completed at a time when Chaghatai language studies were in their infancy. The translation is characterized by utter reliability and precision, exhaustive footnotes and numerous appendices: Western and Asian scholars continue to consult it as the standard translation of this classic Timurid text. Yet, despite the stature of her work, little is known about Beveridge herself, an unusual figure in the British orientalist landscape if only because she was a woman who raised four children and learned oriental languages when she was past the age of 50.

On 18 March 1893 the opera Toldi by Ödön (Edmund von) Mihalovich (1842–1929) was premiered at the Royal Hungarian Opera House in Budapest. Three month later Ferenc Erkel, founder and single most important composer of the Hungarian national opera died. One of the funeral speeches at his burial was held by Mihalovich. This gesture was meant as a symbolic mounting of the guard on the national operatic scene. However, Toldi, written on a libretto based on Toldi szerelme (Toldi’s Love), the middle epic of János Arany’s Toldi trilogy, proved to be unsuccesful. It was staged again as Toldi’s Love in 1895 after a thorough revision. One cannot overlook the fact that in the newly composed third act Mihalovich wanted to write the loyalist counterpart of the conflictuous third act in Erkel’s Bánk bán. The paper discusses the question whether the first and only opera on a Hungarian text by the solid Wagnerite Mihalovich could at the time fulfil the official national expectations and become the representative national opera of the Millennium, that is, the Thousand Year Jubilee of the Carpathian Basin’s conquest by the Hungarian tribes, celebrated in 1896.

Physicien de l'élasticité et de l'hydrodynamique, Boussinesq a aussi élaboré une oeuvre théorique importante, qui peut être considérée comme une des dernières manifestations de la physique mathématique classique. La mécanique de Boussinesq vise à donner une explication générale de l'ensemble des phénomènes physiques. Edifiée sur la base du principe de la conservation des forces vives ou de l'énergie, et nettement distincte des théories mécaniques de la chaleur à la française, elle vainc les difficultés que présentent la mécanique dite rationnelle et la physique de la force au milieu du 19ème siècle, et constitue de ce fait une voie originale vers la nouvelle physique dynamique. Tout le long de l'élaboration de sa mécanique, Boussinesq s'appuie sur un socle épistémologique qui en renforce la cohérence. Au coeur de ses conceptions du monde et de la science figure la croyance en un monde géométrique autonome, modèle et idéal du monde physique. Ainsi peut s'expliquer le rôle déterminant qu'il assigne à la grille conceptuelle cinématique sous-jacente à l'ensemble de son oeuvre. Mécanique du point matériel, la mécanique de Boussinesq n'est pas pour autant une mécanique abstraite, c'est celle du monde habite par l'homme. Pour édifier cette géométrie de la nature qu'est la mécanique physique, Boussinesq doit se contenter, le plus souvent, d'une représentation géométrico-cinématique des dernières particules observables. Face à la complexité du monde physique, il découpe celui-ci en champs distincts, chacun d'eux étant défini par un fait fondateur, un principe simple, exprimé dans le langage de l'analyse. Par cette sorte de réductionnisme, dont on étudie ici la mise en oeuvre dans le procès de mathématisation de l'hydrodynamique et des phénomènes de l'élasticité, de la lumière et de la chaleur, Boussinesq opère la jonction entre deux traditions de la physique mathématique française, celle de Poisson et celle de Fourier. En suivant l'évolution de la pensée scientifique de Boussinesq, on prend la mesure de ses incertitudes dans la période de transition entre le modèle statique et le modèle dynamique de la physique, et, en même temps, de l'assurance que lui procure sa conviction d'une étroite interdépendance entre la science et la théorie de la connaissance.

La réception française de la mécanique statistique est caractérisée par différents moments et par l'hétérogénéité des lectures et des modes d'appropriation. Dans un premier moment, les Français ont lu la nouvelle théorie cinétique (d'après Clausius), dans un cadre dominé par l'adhésion à une forme post-laplacienne de mécanisme. Les introducteurs de la théorie, sont des opticiens qui, comme Ampère, attribuent un rôle fondamental à l'éther dans les phénomènes thermiques. L'agnosticisme de de Regnault et la crainte de l'usage des probabilités inspirent une certaine méfiance à l'égard de cette théorie. Le deuxième moment, celui où Brillouin, Poincaré et Borel ont une contribution originale, garde encore une caractéristique commune au premier moment: la circulation des idées est essentiellement à sens unique. Les étrangers s'intéressent très peu aux premières contributions françaises. Seul l'usage que fit Langevin de la théorie cinétique dans la physique des ions a reçu quelque attention. La première surprise que le présent travail apporte, c'est que l'histoire usuelle des théories cinétiques de la chaleur est trop linéaire: elle sélectionne les travaux qui fondent la conception moderne (Clausius, Maxwell, Boltzmann et leurs proches) et ignore tout de qui s'en écarte. Mon travail montre qu'il y a eu, dans toute la seconde moitié du XIXe, plusieurs conceptions cinétiques de la chaleur et que quelqu'un comme Clausius acceptait ce pluralisme. Une autre surprise est l'hétérogénéité du rapport français aux théories moléculaires, qui contredit les clichés concernant l'absence d'une physique théorique française ou la dominance totale des approches empiriques et phénoménologiques
The French reception of classical statistical mechanics is characterized by different periods and by the variety of lectures that it provoked. In a first moment, the French read the young kinetic theory (in Clausius's version), in a frame in which a post-laplacian form of mechanism was dominant. Those that have introduced the theory, made their reputation in the field of Optics, and like Ampere conceded a very important role to the ether in the comprehension of heat. The agnostic attitude of Regnault and the lack of trust in probability inspired some disbelieve in the theory. In the second period, Brillouin, Poincare and Borel gave an original contribution. But as in the first period the circulation of ideas was essentially one way only. The non french scientists had little interest in these french contributions. Only Langevin's use of kinetic theory in ion physics inspired some attention. The present work shows some novelties. First, it shows that during all the second half of the XIX century, several conceptions on the nature of heat were available and that someone as Clausius accepted this plurality. Another surprise is the heterogeneity of the french relation with molecular theories. That contradicts the common opinion that there was no theoretical physics in France or that the empirical or phenomenal approaches dominated totally the theoretical field

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In its modern concept, the myth is a behavioral paradigm, a symbolical model of an external reference. Based on that, this paper defends that the poem A throw of the dice , by Stéphane Mallarmé, acquires such mythical status, either by its cosmogonical nature which is commonly ignored by the critics -, or by its formalistic innovations reason why it got so acclaimed. Due to that, it suffered during the XX century a mythification process, in which it was promoted to be elected as one of the inspirational sources of recent and contemporary poetry. So that such approach was possible, the study was delimitated to a comparison between the proposed text to its re-creation in Portuguese, done by Haroldo de Campos. This dialogue translation / original not only updates the myth A throw of the dice by the ritualistic value the translation process has, but also allows the analysis to get closer to the current times. As an instrument for this exegesis, the Gestalt theories principles of form organization; concept of whole , which is not a mere addition of its parts, but has a unique quality aggregated; and the phenomenon of psiconeural correlation in human visual perception ensure that the poem will be considered in its totality, as a verbal, visual and sound entity. In short, it has been concluded that the poem A throw of the dice is a tale of the (re-) creation of the Universe, the human being and the Art, not under the guidance of a divine power, but generated by the human thinking, key factor in the new illuminist bourgeois society in Modern Age. The modern myth is formed
Em seu conceito moderno, o mito é um paradigma comportamental, um sistema semiológico de algum referente externo. Baseado nisto, este trabalho sustenta que o poema Um lance de dados , de Stéphane Mallarmé, adquire status mítico, quer pelo seu caráter cosmogônico comumente ignorado pela crítica quer pela sua inovação formal fato que o consagrou, e sob cujo prisma é unicamente lembrado. Em virtude disso, sofreu ao longo do século XX um processo de mitificação ao ser promovido à condição de uma das mais importantes fontes de inspiração da poesia recente e contemporânea. Para que tal abordagem fosse possível, buscou-se delimitar o estudo do texto proposto em correlação com sua recriação em língua portuguesa, feita por Haroldo de Campos. Tal diálogo tradução/original não apenas atualiza o mito Um lance de dados pelo valor ritualístico que possui o ato de traduzir, mas também permite à análise uma aproximação da contemporaneidade. Como instrumento de exegese, as teorias da Gestalt princípios de organização da forma; máxima de que o todo não é a mera soma das partes, mas possui uma qualidade diferenciada destas; e o fenômeno da correlação psiconeural na percepção visual humana asseguraram que a obra fosse considerada em sua totalidade, enquanto entidade visual, verbal e sonora. Deste modo, chegou-se à conclusão que Um lance de dados é um relato da (re-) criação do Universo, do ser humano e da Arte não sob a condução de uma força divina, mas gerada pelo pensamento humano, novo fator-chave na sociedade iluminista-burguesa da Modernidade. Está formado o mito moderno

Le modèle numérique que nous avons développé au cours de cette thèse présente deux caractéristiques principales : un modèle dilatable pour l'eau et la prise en compte de domaines ouverts. Les difficultés associées au premier aspect concernent l'adaptation de la loi d'état de l’eau au modèle dilatable sous l’approximation à faibles nombres de Mach, tandis que celles associées au second sont relatives à la mise en œuvre de conditions aux limites numériques de sortie compatibles avec l'algorithme de projection utilisé. Les résultats de simulations d'écoulement de convection mixte en canal horizontal chauffé par le bas ont été confrontés à celles utilisant l'approximation de Boussinesq et aux expériences
The 3D numerical model which we developed in this thesis presents two main features: a Low-Mach-Number approximation for water along with an open boundary condition formulation. Indeed, the difficulties related to the former point stand in a computationally efficient adaptation of the water equation of state in the framework of Low Mach number approximation, whereas the difficulties related to the latter concern the introduction of Open Boundary Conditions in the projection algorithm used. We have computed a mixed convection flow in a horizontal channel uniformly heated from below and compared the results obtained with both the Boussinesq approximation and experimental results

Thèse réalisée en cotutelle avec l'Institut d'Études théâtrales de l'Université Sorbonne nouvelle - Paris 3
Désireuse de s’affranchir d’une approche essentialiste et figée de la poésie au théâtre ainsi que d’une lecture générique, cette recherche envisage selon une méthodologie intermédiale les relations entre théâtre et poésie. En analysant un corpus témoin composé de créations textuelles et scéniques, elle montre comment la présence active de la poésie travaille le théâtre, et partant, elle les précise tous deux par leurs interactions. La première partie établit une généalogie de l’intermédialité du théâtre et de la poésie, et des liens dynamiques entre théâtre et poésie. Tout au long du XXe siècle, poésie et théâtre se sont en effet affirmés comme des « hypermédias » (Kattenbelt), mettant respectivement en jeu divers médias, tandis que plusieurs dramaturges ont développé des poésies théâtrales explorant des processus intermédiaux. Sont dégagées et analysées quatre configurations spécifiques à travers les œuvres et réflexions de Mallarmé et Maeterlinck, de Stein et Artaud, de Gauvreau et Novarina et à travers la poésie transmédiale que Cocteau développe entre théâtre et cinématographe. Consacrée au tournant des XXe et XXIe siècles, la deuxième partie élabore une approche théorique du poème théâtral, qui actualise les relations entre théâtre et poésie. Le poème théâtral constitue un dispositif intermédial qui, selon un modèle élaboré par Ortel et Rykner, articule inextricablement trois niveaux : technique, pragmatique et symbolique. Plusieurs traits précisent ce dispositif : sa radicalité dynamique, sa performativité, sa valorisation de l’écriture comme processus, et sa façon de considérer l’impossible comme moteur théâtral. Des analyses d’œuvres textuelles et scéniques de Kane, Malone, Danis, Régy et Lemoine montrent ensuite comment ce dispositif intermédial est activé et ce que le poème théâtral propose au lecteur et au spectateur comme expérience esthétique. Saisir le devenir intermédial de la poésie au théâtre permet de penser un modèle interartial placé sous le signe de l’hospitalité, où les arts, égaux, dialoguent entre eux et échangent, en faisant travailler ensemble leurs hétérogénéités et leurs altérités.
In an effort to do away with an essentialist, rigid, and generic approach to poetry in dramatic works, this research looks at the relationship between poetry and drama using an intermedial methodology. By studying a sample corpus made up of textual and theatrical works, this thesis shows how the active presence of poetry is at work in theatre, thereby redefining each of the two concepts through the ways in which they interact. The first chapter traces the genealogy of intermediality within poetry and drama, and that of the dynamic connections between drama and poetry. Throughout the twentieth century, poetry and theatre have come to be seen as « hypermedia » (Kattenbelt), each of them bringing into play various types of media. Meanwhile a number of playwrights started developing dramatic poems exploring intermedial processes. This research identifies and analyses four distinct forms in the thought and works of Mallarmé and Maeterlinck, Stein and Artaud, Gauvreau and Novarina, through the transmedial poetry developed by Cocteau at the confines of drama and cinematography. With a focus on works from the turn of the twentieth to twenty-first century, the second chapter offers a theoretical approach to the dramatic poem, that seeks to bring an updated approach to interactions between drama and poetry. The dramatic poem is an intermedial apparatus that, in Ortel and Rykner's view, inextricably combines the technical, the pragmatic and the symbolic. This apparatus is characterised by its dynamic radicalism, its performativity, its focus on the value of writing as a process and the way in which it conceives of impossibility as a dramatic driving force. Analyses of textual and dramatic works by Kane, Malone, Danis, Régy and Lemoine suggest how intermedial apparatuses are triggered and the kind of aesthetic experience the dramatic poem offers to readers and viewers. Contemplating intermedial processes of poetry in theatre allows for the reframing of an interartial model in an inclusive, hospitable fashion, where all art forms are considered equal, engage in dialogue and exchange, and combine their differences towards a common object.