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1
Poirson, Rarahu. "Le mythe de Gauguin." Nice, 1991. http://www.theses.fr/1991NICE2009.
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Alors que les objets tribaux mesuraient l'évolution technique des sociétés et stipulaient la mission civilisatrice qui incombait aux nations européennes, Gauguin choisit de les tenir pour le devenir de l'art moderne, outrepassant les valeurs bourgeoises. Il porta sa recherche à la limite extrême, dans l'espace, il alla jusqu'aux antipodes, à Tahiti et aux îles Marquises, dans le temps jusqu'à l'immémorial, sauvant le peuple polynésien de l'oubli de sa culture. Tandis que la lucidité engageait à reconnaître la dette contractée envers l'art primitif, l'aveuglement la niait afin de se dispenser de toute réévaluation. De cet affrontement, les images diverses et contradictoires que la postérité a tracées de Gauguin au long du XXe siècle témoignent. À travers ces interprétations successives qui composent le mythe de Gauguin, il s'est agi d'appréhender un moment décisif dans l'histoire de l'art : l'avènement de l'art moderne, introduit par une notion inédite, le primitivisme. Lorsque les consciences occidentales eurent la certitude que les arts primitifs étaient devenus arts du passé, elles s'autorisèrent à célébrer Gauguin comme le père du primitivisme moderne
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Mann, Pamela Florence. "Meaning, gesture and Gauguin." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35891/1/35891_Mann_1998.pdf.
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This thesis discusses the difference between two dimensional painting and sculpture although they have proceeded along parallel paths. Feminist. Post-colonial and psychoanalytical discourses intertwine to cover complexities within the artwork of Gauguin and
my own. Just as painting and sculpture run along parallel paths though covering problems inherent in their differences so to do I attempt to describe similarities at the same time as recognising the areas where the two do not meet. Issues covered include the search for
meaning, in such a way as to make the art works relevant at the close of the twentieth century. A major consideration for a sculptor, that will be discussed, is that reading visual, two dimensional images is something everyone is practised at, in contrast to reception
of three dimensional works. Audiences are less familiar with semiotic readings of sculpture. It is my contention that Gauguin's art and life can be compared to the way an audience views sculpture. His relations with women in particular, had this overwhelming double standard. He, at the same time as he adored and idealised the female totally rejected their involvement in his life in any meaningful way.
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Ilorah, Miriam. "Paul Gauguin och den koloniala blicken : En receptionsanalys av Paul Gauguins konst i Sverige år 1926 och 1970." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34829.
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This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits.Det här arbetet handlar om receptionen av Paul Gauguins konst i Sverige i samband med de utställningar av hans konst som tagit plats i Stockholm år 1926 och 1970. Arbetet består av analyser av det material som producerats i samband med utställningarna; utställningskataloger och tidningsartiklar. En semiotisk bildanalys av hans målning Manao tupapau har utförts då jag anser att det verket bäst sammanfattar de koloniala strukturer jag menar Gauguins konst bär på. Postkolonial teori används genomgående som teori i arbetet och jämförelser mellan den konst som Gauguin producerade på Tahiti i slutet av 1800- talet och de rasbiologiska fotograferingar som Åsa Bharathi Larsson skriver att Sverige utförde på Tahiti under sent 1800-tal har utförs. Resultatet visar också att dessa rasbiologiska studier bidragit till att lägga grunden för den koloniala blick med vilken konstkritiker i Sverige betraktade Gauguins konst främst år 1926. Studien visar att blicken med tiden utvecklades och att det år 1970 riktades kritik mot Gauguins livsstil. Trots detta kan idag (2017-18) Gauguins konst exponeras utan att omständigheterna kring hur den skapades eller de exotifierande egenskaper den bär på, nämns.
4
Merlhès, Victor. "Gauguin ès Lettres : recherches sur la vie, l'oeuvre, les écrits et la correspondance de Paul Gauguin." Paris 10, 1997. http://www.theses.fr/1997PA100078.
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Recherche, analyse, edition de la correspondance de paul gauguin (1873-1888) ; publication de tres nombreuses lettres inedites (notamment de toutes les lettres a c. Pissarro) ; recherches biographiques approfondies sur gauguin et son cercle ; etude de la periode impressionniste du peintre et de son evolution vers le symbolisme ; etude de ses relations avec les artistes de son temps et notamment avec les peintres du groupe impressionniste etendu ; analyse de ses relations avec vincent et theodore van gogh, avec emile schuffenecker, charles lavai, emile bernard et les peintres de pont-aven ; etude des expositions de gauguin, des critiques qui lui furent consacrees (en particulier dans le mercure de france entre 1890 et 1900), de sa reaction face a la critique. Esthetique de paul gauguin ; etude de ses rapports avec le monde litteraire, avec le livre et la chose ecrite ; recherches iconographiques sur l'artiste, son oeuvre, son entourage et son temps ; recherches sur l'oeuvre plastique de gauguin et sur la genese de quelques pieces particulieres ; recherches sur les sejours danois, bretons, antillais et polynesiens de l'artiste. Publication critique de deux manuscrits : le cahier pour aline (1893) et racontars de rapin (1902). Panorama historique et critique des etudes relatives a paul gauguin entre 1903 et 1978.
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Regnault, Leclerc Martine. "Etude des traces écrites dans l'oeuvre de Paul Gauguin." Dijon, 1998. http://www.theses.fr/1998DIJOL009.
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Le but de cette thèse est d'étudier les traces écrites dans l'œuvre de Paul Gauguin. Elle comprend une introduction au XIXème siècle marquant le renouveau de l'écriture à travers la linguistique, les déchiffreurs, la graphologie et le japonisme. La seconde partie présente une typologie des mots recensés dans l'ensemble de l'œuvre. La troisième partie établit des rapports entre l'écriture et l'image dans la signature, les dessins dans la correspondance, le manuscrit illustré et les tableaux. Elle pose la question de l'origine iconique de l'écriture. La quatrième partie étudie les espaces graphiques comme le papier, la toile, le vitrail, le bois, l'argile, le tapa et le corps humain. Ce sont des témoins matériels de la dynamique créatrice de Paul Gauguin et des instruments qui permettent à l'artiste de se redéfinir par rapport au monde. Le cycle des métamorphoses amorce par Paul Gauguin à travers la trace et les espaces graphiques le conduit aux origines de l'homme, à ses premiers gestes, à l'alliance matière-main, trace-support, puis à l'éveil spirituel et au déchiffrement de soiThe aim of this thesis is the study of the written traces in Paul Gauguin’s work. Its first part is an introduction to the nineteenth century, indicating the renewed interest in writing through linguistics, decipherers, graphology and Japanese art. The second part presents a typology of the words discovered in the entire works. The third part establishes relations between writing and image to be found in the signature, drawings in the correspondence, the illustrated manuscript and the paintings. It raises the question of the origin of the writing in relation to the image. The fourth part studies the graphic media such as paper, canvas, stained-glass, wood, clay, tapa and the human body. These are material references to Paul Gauguin’s creative dynamics and instruments which allow the artist to place himself in relation to the world. The transformation cycle initiated by Paul Gauguin through the traces and the graphic media leads him to the origin of man, to man's initial gestures, to the material-hand and trace-medium union and finally to his own spiritual awakening and self- deciphering
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Thomas, Kerstin. "Welt und Stimmung bei Puvis de Chavannes, Seurat und Gauguin." Berlin München Dt. Kunstverl, 2005. http://d-nb.info/999600230/04.
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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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Giraud, Vaiana. "Paul Gauguin écrivain : rôle et place de l'écrit dans son oeuvre." Poitiers, 2010. http://www.theses.fr/2010POIT5020.
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Paul Gauguin (1848-1903) est un peintre majeur de l'histoire de l'Art, dont l'oeuvre a ouvert la voie à de nombreux courants artistiques du XXème siècle. Mais il est important aujourd'hui de rendre à l'homme sa dimension exceptionnelle d'artiste polymorphe : céramiste novateur, sculpteur d'âme et surtout audacieux écrivain, pour qui la rencontre avec la Polynésie a été déterminante. Seule une partie de ses manuscrits nous est parvenue et nous dévoile un être en quête d'un ailleurs plus intime que géographique. Ses éternelles recherches sont celles d'une forme aussi expressive que ses convictions, dont le sens dépasse de loin le seul accompagnement de son oeuvre picturale. La variété des écritures surprend tout autant que la modernité, la structure et le contenu de ses ouvrages : cahiers intimes, contre-critique, écrits journalistiques, pamphlet, conte, recueil, dans une langue abrupte aussi effilée qu'une arme, un style fragmentaire, un langage sans fioriture mais dense d'émotion, Paul Gauguin se livre en homme de son temps. Soumis aux clichés du XIXème siècle, il nous laisse paradoxalement une oeuvre atemporelle dépassant les carcans officiels artistiques, coloniaux ou religieux. Ses écrits font état de ses luttes et de ses recherches, de ses certitudes de créateur en même temps que de ses fêlures d'homme qui aimait à se présenter en artiste maudit et clamait « je ne suis pas écrivain »Paul Gauguin (1848-1903) is a major painter in Art History; his work opened the way to numerous artistic trends of the twentieth century. However, it is important today to hand over to the man his exceptional polymorph artist dimension: as innovative ceramist, a soul sculptor, and particularly an audacious writer, for whom the encounter with French Polynesia was determining. Only a handful of his manuscripts came to us and they unveil someone longing for an intimate distant world rather than just a geographic one. His endless researches aim at a form as expressive as his convictions, which meaning surpasses by far the only accompaniment of his pictorial work. The variety of his writings is as astonishing as the modernity, the structure and the content of his works: intimate books, counter critiques, journalistic writings, pamphlets, stories, and anthologies written in an abrupt language as sharp as a blade, a sketchy style, a plain unadorned language, however dense in emotion. Paul Gauguin shows himself as a man of his time. And yet submissive to the 19th century's clichés, he leaves us with a timeless work of art, surpassing official artistic, colonial and religious constraints. His written works put forward his struggles and his quests, his certainties of creator along with the cracks of the man who liked to present himself as a doomed artist , saying out loud: "Je ne suis pas écrivain" ("I am no writer")
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Cobill, Brenda. "A study of the relationship between Paul Cézanne and Paul Gauguin." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22576.
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This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.
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Stotland, Irina D. "Roger Fry's concept of authenticity the associative Gauguin contrasted with the contemplative Cézanne /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2522.
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Thesis (M.A.) -- University of Maryland, College Park, 2005.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Malmon, Isabelle. "Le tupapau et le génie à capuche : étude d'une figure entêtante dans l'oeuvre de Paul Gauguin." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0019.
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En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiquesIn 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes
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Hirota, Haruko. "La sculpture de Paul Gauguin dans son contexte (1877-1906) et le catalogue raisonné informatisé de l'oeuvre sculpté." Paris 1, 1998. http://www.theses.fr/1998PA010691.
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La présente étude a pour objet de réviser la totalité de la sculpture de Paul Gauguin, et de la resituer dans son contexte, c'est-à-dire dans son rapport avec le développement artistique propre à son époque. Reconnues de nos jours comme précurseurs du primitivisme du XXe siècle, les créations audacieuses de Gauguin n'ont pas, en effet, été examinées dans le cadre du XIXe siècle. Notre recherche consiste d'une part, à trouver les sources possibles de ses sculptures, les influences qu'il reçut de ses contemporains, tels qu'Aube, Carries et Rodin, à distinguer ses particularités artistiques, et d'autre part, à éclairer l'iconographie de ses œuvres dans le contexte du symbolisme et de l'idée primitiviste. Au cours de l'examen des œuvres par étapes, il s'avère que le principe fondamental de la création de Gauguin réside dans la dialectique des deux pôles, central et marginal, occidental et non-occidental, ce qui est caractéristique du primitivisme propre au XIXe siècle. Dans cette optique, ses intérêts pour les différentes formes d'arts populaires sont notables. Par ailleurs, ses intérêts pour la culture primitive océanienne, tout en étant syncrétique, produisent des œuvres d'une dimension mythique et totémique, qui annoncent le primitivisme du XXe siècle. Son art qui témoigne à la fois de l'historicité et du mythique se situe justement dans cette période de transition. Notre thèse se compose de deux parties : le texte, et le catalogue raisonné dans lequel nous avons pu ajouter 14 œuvres depuis longtemps oubliées ou non encore publiées - aux catalogues de Merete Bodelsen et de Christopher Gray, édités il y a plus de trente ansThe purpose of this study is to re-examine the totality of the sculpture of Paul Gauguin, and to place it in its context, that is, in its relation to the artistic developments peculiar to his time. Recognized today as precursors of primitivism of XXth century art, the bold creations of gauguin have not been examined in the framework of the XIXth century. This research consists, on the one hand, in finding the possible sources of his sculptures, the influences he received from his contemporaries such as aube, carries and rodin, in distinguishing his artistic features, and on the other hand, in elucidating the iconography of his sculptures in the context of symbolism and of primitivist ideas. In the course of examining his pieces, it will be confirmed that the fundamental principle of the creation of gauguin lies in the dialectic of two poles, central and marginal, occidental and nonoccidental, which is characteristic of the primitivism of the XIXth century. From this point of view, his interest in the various forms of popular art is notable. On the other hand, his interest in the primitive culture of oceania, despite its syncretism, produced works of mythical and totemic dimensions, which herald the primitivism of the XXth century. His art that shows the historicity and the mythic at the same time is placed just in this period of transition. This thesis is composed of two parts: the text and the catalogue raisonne which adds 14 works - forgotten for a long time or not yet published - to the catalogues of Merete Bodelsen and Christopher Gray, edited over thirty years ago
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Rougeot, Magali. "Gustave Fayet (1865-1925) : itinéraire d'un artiste collectionneur." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100218/document.
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Gustave Fayet était artiste, collectionneur, grand propriétaire viticole et restaurateur de l’abbaye de Fontfroide. Il a mené toutes ces activités de front et elles sont liées les unes aux autres. Cette étude présente l’itinéraire de Gustave Fayet entre Béziers où sont ses racines, Paris où il se réalisa en tant qu’artiste, en passant par l’abbaye de Fontfroide qui fut le catalyseur de sa réalisation artistique. Ses racines biterroises façonnèrent son goût, lui donnèrent les moyens financiers de faire ce qu’il aimait. Là il rencontra Maurice Fabre et George Daniel de Monfreid qui le menèrent l’un à Odilon Redon et l’autre à Paul Gauguin, ses deux grands maîtres. Plus tard à Paris et a Fontfroide l’artiste a pu éclore. La vie menée at Paris at partir de 1905, lui permit d’approfondir les rencontres avec les artistes de son temps, et aller au bout sa vie de mécène et de collectionneur. Mais s’il trouva tout ceci a Paris, l’homme aspirait an calme, il se réalisa en achetant en 1908 l’abbaye a Fontfroide, dont il fit un lieu de rencontres artistiques : Odilon Redon décora sa bibliothèque, Richard Burgsthal créa des vitraux. Au cœur de cela, et grâce à la relation privilégiée qu’il entretenait avec Odilon Redon il mena une réflexion sur l’artiste qu’il voulait être. Il reprit ses pinceaux pour se lancer dans des créations très personnelles. Entre 1920 et 1925 il devint un artiste classé et reconnu, en particulier dans le domaine des arts décoratifs, réalisant des tapis au point noué de style art déco. Son travail commencé à Fontfroide lui ouvrit les portes de l’art décoratif, le succès fut au rendez-vous, il décida donc de vivre de son artGustave Fayet was an artist, a collector, a great vineyards owner and the restorer of the abbey of Fontfroide. He led all these activities at the same time and they were all linked to each other. This study presents Gustave Fayet's itinerary between Béziers where were his roots, Paris where he fulfilled himself as an artist, and the abbey of Fontfroide which was the catalyst of his artistic fulfillment. His roots in Béziers shaped his taste, gave him the financial means to do what he liked. There he met Maurice Fabre and George Daniel de Monfreid who drove him to Odilon Redon and Paul Gauguin, his two great masters. Later in Paris and in Fontfroide the artist could hatch. The life he led in Paris since 1905 allowed him to go further in meeting the artists of his time and to achieve his life as a patron of arts and as a collector. But even if he found all that in Paris, the man wanted peace and quiet, he fulfilled himself in buying the abbey of Fontfroide in 1908, which he turned into a place of artistic meetings: Odilon Redon decorated his library; Richard Burgsthal made stained-glass windows. In this atmosphere and thanks to his unique relationship with Odilon Redon he led a reflection on the artist he wanted to be. He took again his paintbrushes to start very personal creations. Between 1920 and 1925 he became a ranked and recognized artist, especially in the field of the decorative arts, making art déco unique carpets. His work which started in Fontfroide opened him the gate to decorative arts, and success finally came, so he decided to earn a living from his art
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Dolan, Andrew P. "A Case for Emile Bernard: A Reconsideration of the Artist's Reputation." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437468129.
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Nevén, Robert. "Toner i dubbel bemärkelse." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2753.
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The question of this degree project is to investigate whether it is possible to convert one art form to another. The thesis has been about converting the art of painting into music. French post-impressionism has been transformed into contemporary chamber music. Setup The degree project “Toner i dubbel bemärkelse” (Tones in two Senses) is about the saxophonist and clarinettist Robert Nevén’s research on his experiences with synaesthesia, and how this has inspired him to compose music for an ensemble consisting of both improvisational and classical musicians. Synaesthesia is a neurological condition where one sensory impression triggers another. A common form of synaesthesia is when reading certain letters and/or numbers makes the synaesthete perceive specific colours. The person in question either sees the colour in front of the eyes, or imagines it in the head. Implementation Nevén believes he experiences synaesthesia to a certain extent, and in his case, it is as follows: Often when he plays a certain note it triggers the visual cortex so that he thinks of a specific colour. This has led to the idea of taking this the other way around for compositional inspiration purposes: Nevén has extracted the colours from five paintings of French post-impressionist painter Paul Gauguin, turned these colours into the musical pitches he associates them with, and written one composition for each painting’s tone material respectively. The five paintings are: Blue Trees Spirit of the Dead Watching (Manaò tupapaú) Redheaded Woman and Sunflowers The Loss of Virginity (Awakening of Spring) The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape) In one composition, the musical form and instrumentation are derived directly from the painting. In others, the tone material is assembled more freely based upon different compositional concepts. The music was presented in concert at The Royal College of Music in Stockholm at March 20th, 2018. Conclusion The conversion of paintings to music is possible, but it requires a format so that the result faithfully follows the original. In this case, the format consisted of keeping the composition within the framework of a painting’s given tone material as much as possible.Kompositör:
Robert Nevén
Repertoar:
1) Blue Trees
2) Redheaded Woman and Sunflowers
3) The Sorcerer of Hiva Oa (Marquesan Man in the Red Cape)
4) Spirit of the Dead Watching (Manaò tupapaú)
5) The Loss of Virginity (Awakening of Spring)
Medverkande musiker:
Robert Nevén - klarinett & tenorsaxofon
Zaida Ponthin - violin
Oscar Edin - violin
Ragnhild Kvist - viola
Johannes Rydén - cello
Jonas Grumstedt - kontrabas
Kim Sundell - elgitarr
Rui Hallvares Andrade Paes - piano
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Fayaud, Viviane. "Brosser le mythe et l'histoire d'après les oeuvres de Jules-Louis Lejeune, Max Radiguet, Charles Giraud, Pierre Loti : Tahiti et la Polynésie orientale avant Paul Gauguin (1800-1890)." Polynésie française, 2005. http://www.theses.fr/2005POLF0008.
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L'association de Paul Gauguin à Tahiti s'avère si prégnante qu'elle occulte toute autre activité esthétique antérieure. Pourtant, il n'est que le dernier d'une longue série d'artistes français à la dessiner. Quatre d'entre eux sont étudiés : Jules-Louis Lejeune, Max Radiguet, Charles Giraud et Pierre Loti. Trois axes articulent cette recherche historique qui prend pour source les dessins d'expéditions : l'histoire du mythe de Tahiti et de ses dessinateurs, l'histoire des représentations de Tahiti et des archipels voisins, et enfin, l'art, source d'histoire de Tahiti. Le mythe de Tahiti, qui lie l'île au paradis terrestre, appartient au bagage mental français. Il convient donc d'en comprendre les fondements et l'évolution pour déterminer son impact sur les dessinateurs et leurs oeuvres. Ces dernières traduisent, transposent, déforment, en un mot brossent une réalité coulée dans le moule des courants de pensées, des conceptions philosophiques, et des approches scientifiques. Cet ensemble iconographique entremêle constamment l'individuel et le collectif, la longue et la courte durée. Aussi, la seconde partie s'attache à en démêler quelques aspects. La dernière partie retrace le parcours éditorial des dessins, et leur apport à l'histoire de Tahiti au travers de trois thèmes : la guerre franco-tahitienne, la femme, élément clé du mythe qui sollicite l'histoire sociale, et Pomare IV, à travers de qui le mythe rejoint l'histoirePaul Gauguin and the island of Tahiti have had such and established association that all previous artistic talents have been hidden. However, Paul Gauguin was only the last in a long line of French artists to paint the island and its neighbourly archipelagos. Four of them are studied : Jules-Louis Lejeune, Max Radiguet, Charles Giraud and Pierre Loti. The historical research bases on drawings realized by expeditions to Polynesia revolves arount three themes : the history of the myth of Tahiti and its artists, the history of the representations of Tahiti, and art as a source of the history of Tahiti. Since the mythe of Tahiti, which links the island to love and to an earthly paradise, belongs within the realm of French general knowledge, its foundations and evolution need to be understood. This is to determine ist impact on artists and their works. These works of art, convey, transpose and distort, or in a word depict a reality cast within a mould of trends of thought, philosophical concepts and scientific approaches. This iconographic group consistently interweaves individual and collective features of long and short duration. Thus, the second part of the thesis sets out to analyze and sort out some of these aspects. The last part describes the publishing development of drawings and their contribution to the history of Tahiti through three themes : the so-called "guerre franco-tahitienne", the Tahitian woman, the key feature of the myth which calls upon social history, and queen Pomare IV, in whom myth and history merge
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Cheminaud, Julie. "Les évadés de la médecine : physiologie et philosophie de l'art dans la France de la seconde moitié du XIXème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040162.
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Dans la seconde moitié du 19ème siècle, des liens particuliers se tissent entre art et médecine : la médecine moderne se tourne vers les œuvres pour y découvrir une clinique, et en retour certains peintres et écrivains se nourrissent de ces nouveaux savoirs pour renouveler leurs pratiques. Mais quand la physiologie prend l’art pour objet, qu’elle analyse les œuvres, leur création et leur réception, l’art peut être loué, ou à l’inverse condamné, et les figures de l’artiste et du médecin tendent à se confondre, ou à s’opposer. Notre travail porte sur ce qui rend possible cette alliance et ces conflits. Nous interrogeons pour cela l’idée de visibilité commune à l’art et à la clinique, le concept de pathologie, et le problème de la norme. Il apparaît alors que la figure de l’artiste anormal, « malade », est un héritage de la mélancolie traditionnelle : sa valeur, qu’elle soit positive ou négative, se comprend toujours dans un contexte spécifique et varie en fonction d’une série de déplacements. Par l’analyse des discours et de quelques œuvres représentatives, nous entendons alors non seulement rendre compte de la physiologie de l’art en France à cette époque, dans ses différentes versions, mais encore montrer qu’elle est un prisme privilégié pour comprendre certaines œuvresIn the second half of 19th century, specific bonds are forged between art and medicine: the modern medicine turns towards artworks and discovers there a clinic. In return, some painters and writers feed themselves on new knowledges to revitalize their practices. But as physiology takes art as its object, analyzes artworks, creation and reception, art can be praised, or conversely condemned. Thus, the figures of the artist and of the physician tend to join or to oppose themselves. Our work deals with what make this union and these conflicts possible. We address the idea of visibility, common to art and clinic, the concept of pathology, and the problem of norm. Thus, it appears that the figure of the abnormal artist, the “sick artist’’, is a legacy of the traditional melancholy: its value, positive or negative, is always understood in a specific context and changes according to a set of transfers. As we analyse discourses and some representative artworks, we intend not only to give an account of physiology of art as it appears in France at this time, but also to show that it is a privileged prism to understand a certain kind of artwork
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Nassiri, Ramin. "Tank gauging using fibre optics." Thesis, Leeds Beckett University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360994.
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Debove, Jonathan. "QCD resummations for gaugino-pair hadroproduction." Grenoble, 2010. http://www.theses.fr/2010GRENY030.
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L’ajout de la supersymétrie au Modèle Standard (MS) de la physique des particules est très bien motivée. Reliant les bosons aux fermions dans un formalisme élégant, la super-symétrie propose une solution naturelle au problème de hiérarchie et permet l’unification des trois constantes de couplages du MS à grande échelle d’énergie. De plus, si la R-parité est conservée, elle fournit un candidat naturel pour expliquer la grande quantité de matière noire observée dans l’univers. Dans le MS supersymétrique minimal, c’est généralementle neutralino, l’un des partenaires supersymétriques des bosons électrofaibles (jauginos) et des bosons de Higgs (Higgsinos), qui se mélangent pour former quatre états propres de masses neutres (neutralinos) et deux chargés (charginos). Après une introduction sur la supersymétrie, nous présentons les formalismes de resommation au seuil et en impulsion transverse. Ensuite, nous considérons la production de paires de jauginos aux collisionneurs hadroniques actuellement en marche, i. E. RHIC, Tevatron et LHC. Nous étudions les effets dus à la polarisation des hadrons initiaux et aux corrections QCD supersymétriques complètes. Finalement, nous appliquons les resommations au seuil et en impulsion transverse à la production de paires de jauginos, et nous montrons qu’elles ont un impact important sur les distributions de masses invariantes et d’impulsion transverses. Tout au long de ces études, nous analysons en détail les erreurs théoriques venant des variations d’échelles et des fonctions de densités de partonsWeak-scale Supersymmetry (SUSY) is a very well motivated extension of the Standard Model of particle physics. Linking bosons and fermions in an elegant formalism, SUSY allows for a natural solution of the hierarchy problem and for accurate unification of the three Standard Model gauge couplings at a high unification scale. Furthermore, if R-parityis conserved, it provides a convincing candidate for the large amount of cold dark matter observed in the Universe. In the Minimal Supersymmetric Standard Model, this is generally the lightest neutralino, one of the spin-1/2 supersymmetric partners of the electroweak gauge bosons (gauginos) and of the Higgs bosons (Higgsinos), which mix to form four neutral (neutralino) and two charged (chargino) mass eigenstates. After an introduction to supersymmetry, we present the transverse-momentum and threshold resummation formalisms. We then consider the gaugino-pair production at current hadron colliders, i. E. At RHIC, Tevatron and LHC. We study the corresponding effects of polarised initial hadrons and full SUSY-QCD corrections. We finally apply transverse-momentum and threshold re-summations to gaugino-pair production, and show that they have important impact on the transverse-momentum and invariant-mass distributions. Throughout these studies, we also investigate the theoretical uncertainties coming from scale and parton-density function variations
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Taylor, R. M. "Optical sensing techniques for liquid level gauging." Thesis, University of Kent, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380619.
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Chew, Yong Min John. "Development of fluid dynamic gauging for cleaning studies." Thesis, University of Cambridge, 2005. https://www.repository.cam.ac.uk/handle/1810/251948.
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Computational fluid dynamics (CFD) has been used to analyze the flow fields generated by FDG in the quasi-stagnant configuration to allow that technology to give simultaneous measurements of deposit thickness and strength. Stress field predictions were generated by solving the governing equations using the numerical solver Fastflo™, and validated by comparison with experimental hydrostatic pressure measurements. Moreover, an analytical approximation for the shear stresses imposed during the gauging experiments has been shown to yield reasonably good agreement with the CFD predictions. Particular predictions of note were that the surface shear stress is largest in the area directly underneath the rim of the gauging nozzle, and that shear stresses characteristic of industrial cleaning-in-place systems could be generated in these quasi-stagnant systems by suitable selection of the hydrostatic suction head and the clearance between the gauging nozzle and the surface. This enhanced FDG tool was employed to study the removal characteristics of tomato paste soils and weak calcium sulphate scale deposits. The critical shearing yield stress for the tomato paste was found to be strongly dependent on the extent of baking (ageing), approaching an asymptote as the material was transformed from a soft, malleable paste into a hard, brittle semi-solid. It was also found that after extended deposition and ageing, calcium sulphate layers could not be removed by these gauging flows, implying that liquid velocities customarily used in industry would not be able to dislodge such deposits. Polystyrene co-polymer fouling layers were fabricated in the laboratory. The kinetics and mechanisms of cleaning them from stainless steel surfaces using NaOH, MEK and TPU solvents were successfully investigated using FDG. NaOH was found to be a non-solvent across the range of experimental conditions, in the sense that the polymer films simply swelled to constant thickness after an induction period, without dissolving. In contrast, the polymer films were removed completely in MEK and TPU, more rapidly in the former case, in terms of swelling and dissolution rates, and overall cleaning time. The removal characteristics of different polymer films in MEK and TPU were shown to differ fundamentally, and an improved 'campaign' strategy for polymerization reactors is thereby identified. Experiments on pilot plant samples immersed in MEK and TPU indicated that the results from the laboratory samples are applicable to pilot plant scale.
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Gu, Tong. "Development of fluid dynamic gauging for annular geometries." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608607.
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Chung, Jain. "Control chart procedures based on cumulative gauging scores." Diss., Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/54277.
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Control charts based on cumulative gauging scores rely on gauge scoring systems used for transforming actual observations into integer gauging scores. In some cases, the gauging scores are easy to obtain by using a mechanical device such as in the go-no-go inspection process. Thus, accurate measurements of selected quality characteristics are not necessary. Also, different control purposes can be achieved p by using different scoring systems.
Cumulative gauging score charts based on two pairs of gauges are proposed to control the process mean or the standard deviation by either gauging one or several observations. Both random walk and cusum type cumulative gauging score charts are used. For controlling the process mean and standard deviation at the same time, a cusum type and a two-dimensional random walk type procedure are proposed. A gauging scheme can be applied to multivariate quality control by gauging either x² or T² statistics. A simple multivariate control chart which is based on the multivariate sign score vector is also proposed.
The exact run length distribution of these cumulative gauging score charts can be obtained by formulating the procedures as Markov chain processes. For some procedures, the average run length (ARL) can be obtained in a closed form expression by solving a system of difference equations with appropriate boundary conditions.
Comparisons based on the ARL show that the cumulative gauging score charts can detect small shifts in the quality characteristic more quickly than the Shewhart type X-chart. The efficiency of the cusum type gauging score chart is close to the regular CUSUM chart. The random walk type gauging score chart is more robust than the Shewhart and CUSUM charts to observations which have heavy a tailed distribution or which are serially correlated. For multivariate quality control. A procedure based on gauging the x² statistic has better performance than the x² chart. Also, a new multivariate control chart procedure which is more robust to the misspecification of the correlation than the x² chart is proposed.Ph. D.
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Rayer, Mathieu. "Chromatic confocal gauging for high precision dimensional metrology." Thesis, Heriot-Watt University, 2015. http://hdl.handle.net/10399/3149.
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Schropp, Jeremy. "Symbolist Symphony for Orchestra." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12105.
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1 score (x, 113 p.)The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening).
Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member
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McKinney, Lee. "A personnel driven mini assessment approach for supporting continuous system and software process improvement." ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,166.
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Thesis (M.S.)--University of New Orleans, 2004.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Science in the Department of Computer Science."--Thesis t.p. Vita. Includes bibliographical references.
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Preston, Trevor J. "The research and development of an electronic gauging system." Thesis, Loughborough University, 1985. https://dspace.lboro.ac.uk/2134/27600.
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There is scarcely an engineering company in Britain which has not had to face radical changes in technology and world economic climate during the past decade. These companies have been forced to reorganise both their product policy and personnel and have either foundered or emerged the stronger as a result of these inevitable pressures from sources beyond their control. This thesis tells the story of just such a well-established mechanical engineering company which was forced out of its complacency of fifty years into a new aggressive and extremely competitive market, that of electronic gauging and measurement, and was able to recover from the brink of financial collapse because of its thrust into new technology and the resultant research, design and development of new and different products. For the first time in fifty years British Indicators Ltd was forced to innovate in order to survive.
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Striet, Jelper. "Alice electrodynamics on the gauging of charge conjugation symmetry /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/67123.
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Cooper, Thomas Joshua. "Gauging the distance : the reach for extremity and emptiness." Thesis, Glasgow School of Art, 2017. http://radar.gsa.ac.uk/5300/.
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Introduction - The submission consists of six visual artist’s book-works (1988-2009) that form the content of the landmark geographical visual art project, The Atlas of Emptiness and Extremity (1987- ). The accompanying essay describes the context, method and contributions of this immense sea-picture project. Context - The Atlas photographs identify, examine and report on the seas surrounding us. The Atlas publications accentuate the visual immediacy of the individual site specific, mutually indexical experiences of singularly making sea-photographs in “the far field”, and later, viewing these thematic picture-groups as a reader. The publications provide short locatory texts for each picture and basic background information into the adjoining cartographical, historical and cultural geographies particular to these remote places. The Atlas publications probe the complacent visual vocabulary of traditional sea-pictures, challenging their customary pictorial conventions. The Atlas pictures declare the establishment of a recognisably new pictorial space within the sea-picture tradition. They develop an abstracted visual narrative to portray the abstract metaphorical human concerns around - extremity, the edge and emptiness. Method - The Atlas Project requires a process of on going, far-distanced expeditionary, site specific, remote field exploration, to enable its picture-making goals. I organise the direction, purpose and content of all of these expeditions. The methods employed are simple and strict. I only ever make one single, unique photograph from any site. I always use the same nineteenth century camera and lens. The precise placements of locational field events are layered into the photographs to ensure a convincing indexical picture space. The nuanced use of an extreme photographic grey-scale is built into the photographs at the negative exposure and darkroom printing stages. This extensive optical tonal-range physically provides The Atlas pictures with their intense pictorial surface densities and increases the sensation of their complex visual tactility. Most photographs are unable to, or incapable of, physically conveying these visual-emotional perceptions. Every stage of the project is my original concept, work and the result of my own thought processes. The results of this effort are unique images made in remote places. Three of those places were newly charted and explored as the result of my expeditions. Contributions - The interiorised pictorial approach developed for the entire Atlas restores compressed, complex indexical pictorial space to photographic depiction. The Atlas publications examine this space, and through it expand the notions of representation and expectation in outdoor photographs. The Atlas photographs speak to the improvisational opportunities available beyond the edge of representational certainly, determined in their new abilities to photographically heed the remote liminal territorial experiences close to this project. The publications propose and verify a new territorial form of terra incognita. The Atlas of Emptiness and Extremity provides the only visual geographical map of the imagination for this unexplored territory. Conclusion - The Atlas of Emptiness and Extremity is one of the most inventive, geographically comprehensive, single-author analogue photographic fine art projects in the world today.
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Thézelais, Cécile. "Charles Morice (1860-1919) et les arts : "entre le rêve et l'action"." Paris 1, 2009. http://www.theses.fr/2009PA010675.
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Ce travail met en perspective la place du poète et critique Charles Morice dans la vie des arts plastiques de son temps, monde qu'il a, par ses écrits et son action, en partie conditionne et qui a en retour déterminé son existence. Homme d'utopies qu'il a tenté de réaliser, il est intervenu de façon pratique dans Ie fonctionnement du monde artistique contemporain, favorisant des artistes comme Paul Gauguin ou Pablo Picasso. Sa critique d'art prend ses racines dans la periode du symbolisme litteraire, dont il est considere comme l'un des theoriciens, et connait un moment d'intense production dans la premiere decennie du XXe siecle, fournissant ainsi a des concepts enonces vingt ans plus tot une importante tribune. Le rapport de Paul Gauguin aux ecrits de Morice, qui est en grande partie a l'origine du discredit suivi de l'oubli du critique, a fait l'objet d'une analyse poussee qui aboutit sur une reevaluation. .
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Edworthy, Robert Mark. "A vehicle-mounted television measuring system for railway structure gauging." Thesis, Brunel University, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277415.
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Bokhour, Edward Bijan. "Energy absorption methods for fluid quantity gauging in low gravity." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/35942.
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GRENFELL, MCKENZIE ERICA. "ACHIEVING A MATCH: GAUGING THE EFFECTIVENESS OF CORPORATE PRESS RELEASES." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/612984.
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From a public relations perspective, the effectiveness of a press release is measured by the extent to which the media coverage matches the original intent of the piece (Wilcox et al., 2015). The present study examined press releases over the past five years from the top 25 corporations in the United States in order to ascertain the extent to which news media match these public relations efforts. Press releases and articles were coded for the presence of various discourses (technology, science, quality, sales, change, ethics, innovation, excellence, and crisis) business and social marketing practices, supplementation, and referential similarity. The results revealed that the discourses were the most frequently matched component between press releases and articles and that while articles never provided a direct link to the original press releases, they did reference the release the majority of the time. Business marketing, social marketing, and supplementation were rarely present in the press releases and even less so in the articles, which suggests a filtering of corporate bias by news media. Discussion focuses on practical implications for the field of corporate public relations.
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Barreiro, Tiago. "Cosmology in string inspired supergravities." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264555.
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Jones, Sarah. "The application of enhanced fluid dynamic gauging as a fouling sensor for pressure driven membrane separations in the food industry." Thesis, University of Bath, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557823.
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The aim of this study was to further understand the fouling and cleaning mechanisms of synthetic membranes used to filter an industrially relevant feed. The main focus of this study was to understand the fouling layer properties during pressure driven filtration. A relatively new technique known as Fluid Dynamic Gauging (FDG) was applied to examine the fouling layer thickness. This work comprised of four main themes with overlapping objectives: (i) the optimisation of Spent Sulphite Liquor fouling and cleaning conditions, (ii) the optimisation of molasses fouling and cleaning conditions, (iii) the investigation of the effect of a simple pre-treatment upon the membrane separation performance, and (iv) the application of the FDG in the study of polymeric membranes. An understanding of the mechanisms involved in fouling and cleaning of microfiltration and ultrafiltration membranes used to filter molasses and SSL has been attained. The variables affecting permeate flux and quality were optimised and mechanistic information concerning the synergistic effects between fouling and cleaning was gathered. The application of a simple NaOH pre-treatment was found to affect both the type of foulant species attaching to the membrane surface, and resulted in an altered separation and cleaning performance. Zeta potential measurements, FTIR and AFM demonstrated that both in-pore and surface fouling was present. The data collected indicated that for both membranes evaluated, different fouling species were found to have attached, depending upon the pre-treatment protocol used. These findings are significant, as they offer support to the recommendations made by some polymeric membrane manufacturers that conditioning protocols should include a NaOH step. However, in the SSL system examined, the effect of NaOH pre-treatment resulted in an improvement in the subsequent performance only over the first two or three complete filtration cycles. It is therefore necessary to study membrane systems over multiple fouling and cleaning cycles before a recommendation can be made. An improved understanding of the interaction between the surface chemistry and surface physics during membrane filtration of complex food based material will benefit both membrane manufactures and food industry based users. The technique of Fluid Dynamic Gauging was incorporated into an existing system and validated to monitor the development of cake layers over time. The FDG was also used to optimise conditions and track the thickness of the cake layer during multiple fouling cycles and its removal rate during cleaning, as an aid to understanding removal mechanisms. It has been shown that operating conditions have to be carefully chosen to minimise the effect of membrane fouling. The results show that FDG is a versatile and powerful technique for characterising the dynamics and mechanical behaviour of fouling layers on membrane surfaces. A particular advantage of the FDG technique is its ability to determine the thickness of fouling layers where other techniques would find difficulty. For example, the layers formed in this study were opaque, and consequently the determination of the development of deposit thickness with time would have been very challenging using conventional optical microscopy techniques.
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Staley, Keely Dawn Connelly Frances S. "Gauguin's Tahitian bodies patriarchy and racism in Fin-de-Siècle Tahiti /." Diss., UMK access, 2007.
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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2007."A thesis in art history." Typescript. Advisor: Frances Connelly. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 18, 2007. Includes bibliographical references (leaves 68-71). Online version of the print edition.
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York, Robert Eugene. "Distributed gauging methodologies for variation reduction in the automotive body shop." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/35031.
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Calhoun, McKenzie L. "Gauging Student Knowledge Base and Creating a Plan to Address Deficits." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/6902.
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Zinn, Cara M. "Gauging Human Performance with an Automated Aid in Low Prevalence Conditions." Wright State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wright1558435408337641.
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Ensenat, Sonia. "Heat transfer effects on the propellant gauging of three-axis stabilized satellites." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/47400.
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Kao, Sophia Yu Min [Verfasser], Thomas [Akademischer Betreuer] Kirchner, and Lothar [Akademischer Betreuer] Ledderose. "Evadarstellung im Werk Gauguins : eine Auseinandersetzung mit Sünden und Tod / Sophia Yu Min Kao. Gutachter: Thomas Kirchner ; Lothar Ledderose." Frankfurt am Main : Univ.-Bibliothek Frankfurt am Main, 2015. http://d-nb.info/1069159905/34.
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Lewis, William J. T. "Advanced studies of membrane fouling : investigation of cake fouling using fluid dynamic gauging." Thesis, University of Bath, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646145.
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Membrane filtrations are widely used in process industries but are almost always limited by fouling, a highly studied and significant problem. This is defined as unwanted material deposited on a membrane surface or within its pores, which can significantly impair performance and/or reduce operating life. The strategies to mitigate fouling include cleaning in place, modified membranes, and optimisation of operating conditions. In order to correctly select or target improvements to any such measures a detailed mechanistic understanding of the fouling process is important, which requires more than just performance data from unit operations. One key mechanism is that of cake fouling, which describes the build-up of particle layers on the surface of the membrane. Its growth and physical properties are difficult to assess. In this project the technique of fluid dynamic gauging (FDG) has been explored as a means to study cake fouling. This simple, yet robust method allows for estimation of thickness and strength of cake fouling at high concentrations and opacity, without any prerequisite knowledge of feed properties. Studies described herein focused on microfiltrations through cellulosic membranes. FDG was used to track cake growth during filtrations of polydisperse yeast suspensions (which contained large agglomerates), demonstrating its capability to work with non-ideal, food-like substances. Later studies used more predictable suspensions of hollow glass spheres, which were used to assess various filtration models. The most effective was found to be an interpretation of the critical flux laws, which were used to successfully identify pore fouling during filtrations of Kraft lignin, an observation supported by FDG measurements. Another novel achievement of this project was the development of an automated apparatus for performing FDG in cross-flow membrane filtration. This allowed for much faster acquisition of results, and demonstrated the potential for its development into an autonomous system capable of making thickness measurements on the fly during filtrations. The most reliable protocol for determining cake growth rates was by repeated filtrations in which destructive thickness testing was performed at selected time points. This was because continuous or even repeated thickness measurements during a single filtration were found to cause too much disturbance to the fouling layer. Computational fluid dynamics was used to simulate shear stress profiles on the fouling layer, while also providing a more accurate means to calibrate the automated apparatus. Erosion caused by FDG readings, when viewed under a microscope, was found to conform to the shear stress profiles predicted by simulations.
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Shelley, Alexander R. "Gauging Corporate Governance for Sustainability : Public-Private Partnership in Accounting for Sustainable Development." Thesis, Uppsala universitet, Institutionen för geovetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-203648.
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Corporate finance reporting is based in rigorous, rules-based frameworks yet environmental and social reporting does not seem to have these normalised tools. The sustainable development of the business movement, in terms of increased environmental and social responsibility, will remain marginal as long as policy decisions maintain their direction towards old models of corporate governance that are not based on the key principles of the triple-bottom line, CSR and accountability. This thesis attempts to gauge to what extent Public-Private Partnership performs a transparent and independent source and appraisal of the standards of Governance for Sustainability for selected firms. This investigation is delimited to an Environmental Social Governance metric analysis and comparison of non-financial corporate data disclosure in sustainability reports from the mining and metals industry in the Nordic countries. It has been inferred from the analysis that an extrapolation can be made based on the financial predictions and trend prospecting of LKAB, Boliden Group, Lundin Mining Corporation, and the Swedish Association of Mines, Mineral and Metal Producers for the future growth of both the Nordic mining sector and sustainability reporting. As a result, ‘best-practice’ in reporting procedures could be exported to where demand is highest from pioneering firms with the ‘first-mover’ advantage, to SME’s and other interested firm’s outside of the Nordic countries. It has been identified that using the Global Reporting Initiative reporting framework enhances partnerships in businesses that adopt and use its index to the extent where it becomes integrated into their management chains and business strategies. The more comprehensively a firm discloses its non-financial performances with relation to the GRI framework, the more integrated reports appear to become. The standardisation of the accurate reporting and disclosure used from the GRI G3.1 varies greatly just between three firms in the same sector and region.
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Ferguson, Clare Anne. "The subjunctive in Guernsey French : implications for gauging authenticity in an endangered language." Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/20983/.
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Authenticity is a salient issue within endangered language contexts, particularly where revitalisation efforts are in place. There is currently much activity worldwide to document and describe endangered languages, but whose language should go into the reference grammars? It is a common perception in endangered languages that the oldest speakers speak the most authentic language, but is this necessarily the case? This is a study of interspeaker and intragenerational variation in mood choice in Guernsey French which provides an insight into the issue of gauging authenticity in a severely endangered language. Working within the variationist paradigm, the linguistic data for this apparent-time study are recorded natural speech, collected in semi-structured and unstructured interviews, both one-to-one and group, from forty-three participants on the island of Guernsey. Sociolinguistic data were collected using an oral questionnaire. The results show that mood choice is associated with one social factor, frequency of use of the language ‘now’ , and four linguistic factors, subjunctive trigger, trigger tense, embedded verb and, to a lesser extent, the presence or absence of a relative pronoun. A quantitative and qualitative approach is taken to examining interspeaker and intragenerational variation. The findings undermine any notion that the oldest generation can be unconditionally assumed to use the traditional variants. The findings are discussed in relation to variationist theory and to the focal theory, authenticity. The research contributes to the field by being the first to examine interspeaker variation in a grammatical variable in Guernsey French. It adds to the small body of empirical research on idiolectal variation within the fields of variationist sociolinguistics and endangered languages, and highlights issues associated with applying variationist methodology in endangered language contexts. Finally, the study exposes the difficulties of seeking out and gauging authenticity in an endangered language.
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Wessels, P. (Pieter). "The calibration of compound crump and sharp-crested gauging weirs in South Africa." Thesis, Stellenbosch : Stellenbosch University, 1996. http://hdl.handle.net/10019.1/55260.
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Dissertation (PhD)--Stellenbosch University, 1996.One copy microfiche.
Some digitised pages may appear illegible due to the condition of the original microfiche.
ENGLISH ABSTRACT: The present network of now gauging stations in South Africa has grown from isolated observations on an ad extensive is to an extensive network of stations across the country. Standardised gauging stations to suit local conditions have been developed which include purposely desigll4:d compound weirs. Nearly all. compound gauging weirs In South Africa have. for practical reasons. been constructed without dividing walls. thus deviating lr',:.n the standards set by the British Standards Institution (1981). Uncertainty about the accuracy of calibration of such structures had to be darifi,ed and. where ~cessary. adjustments had to be made to existing calibration formulae in order to compensate for the de,,·iations. It was also necessary to determine whether the accuracies that could be attained were adequate in terms of the potential financial implications of inaccuracies. It has thus become necessary to re-evaluate the calibration of these structures which consist of mainly compound Crump .md sharp-crested weirs. Selected flow l"t'Cords were analysed and the data wa.\ used to determine the impact of errors on the required capacities of reservoirs. This wa., done in an anempt to provide guidelines for the accuracy required in flow records. An31ysing a single application of a flow record cannot provide guidelines for the required accuracy of a flow record and thus the gauging of flow. Although no general conclusions can be drawn. it appears thal the benefits arising from an improvement in the accuracy of a flow record are proportionally greater than the percentage improvement in accuracy. Three-dimensional flow conditions exist either upstream or downstream of the point of stage measurement depending on the presence or absence of diViding walls at a compound gauging weir. The existing calibro1tion theory does not account for the influences of three-dimensional flow conditions and a.-'isociatcd energy losses in the determination of the upstream total energy head. Hydraulic model tests were thus undenaken to detemline the magnitude of the resulting energy losses. New techniques were developed to compensate for these energy losses in the calibration theory of compound gauging weirs. Application of the new calculation techniques to rate compound weirs using a single point of stage measurement results in improvements in accuracy. It was found that compound weirs without dividing walls can be rated to greater levels of accuracy than weirs with dividing walls, where stage measurements are taken at a single point
AFRIKAANSE OPSOMMING: Die huidige nc!werk van vloclmectpumc III SUld-Afnka hel gegroei van gc'isoleerde waamemings op 'n ad hoc basis, tot 'n uitgebrcldc nctwerk. van meetpunte vcrsprei oor die hele land, Standaard mcetstruktuure aangepas vir plaaslike omstandighede is ontwikkei en sluit in doelgeboudc saamgestelde mcetstrukture. Byltans aile saamgestelde mcetstruklure in Suid-Afrika is weens praktisc oorwegings opgerig sonder verdeelmure, wal afwyk van die standaarde gestel deur die British Standards Institution (1981). Onsekerhede aangaande die akkuraathcid ,'an die kaJibrasie van sulke slrukture moes opgekJaar word en unpassjngs un die beSlaande leorie moes gedoen word om hier'OOf te kompenseer. iodien nodig. Oil was ook nodig om va~ Ie s,tel of akkuraathede Waf hulbaar is voldoende is, met inagneming Vlll poIensi~1c finamiitle implikasies van onakkuruthede. Oit hel dus nodig gcword om die bestaandc kaJibra.liic van saamgestelde meetstrukture. hoofsaakJik Crump en sterpkroin meetwaJle, Ie hcr·cval~r. Seleere vloei:rekords is ontl~ en die data is gcbruik om die impak van foule ~ bepaal op die berekende k.apasitei~ van opgaardamme. Oil IS gedoen in 'n poging om riglyne neer te Ie rakende die akkuraatheid verlang in 'n vloeirekord. Die ontleding van '0 enkele loepassing van 'n vloeirekord lewer nie genoegsame data om riglyne vas Ie stell. "ir die verlanp akkuraalheid van 'n vloeirekord of vloeimeling nie. AlhoeweJ geen duidelike riglyne hieruii vOilr1spruit nie. kom dit voor asof die voordele verkry uit '0 verbetering io die akkuraatheid van 'n vloeirekord in verhouding groter is as die vcrmiodering in die vloeimetingsfout. Drie-dimensionele II'loeitoeslande bestaan of stroomop of stroomaf van die punt van watervlakmeting, afl1iangende van die 'cenwoordigheid of afwesigheid van vcrdeelmure by 'n saamgestclde meetstlruktuur. Die beslaande kalibrasieleorie maak nie voorsiening vIr die invloed van drie-dimensionele vloeitoestande en die gepaardgaande energieverlicse op die bepahng van die totale stroomop energiehoogte nie. Hidrouliese mode1tor: sc is ondemeem om die omvang van die resulterende energieverliese vas te ste!. Nuwe tegnieke in die kaJibrasieteorie vir saamgestelde strukture is ontwikk.e1 0:t1 tc kompenseer vir hierdie energieverliese. 'n Verbc:tcde akkuraatheid word verkry wanneer die nuwe tegniek toegepas word op die kalibrasie van saamge~telde meetstrukture met 'n enkele punt van watervla.kmeting. Daar is gevind daR saamgestelde meetstrukture sonder verdeelmure illurater gekalibn:er lean word. as suuktt.Rmet vcrdeelmure waar walervlakke slegs by 'n enkclc punt gemeet word.
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Cao, Jian. "Using analysts' characteristics in gauging recommendation optimism and the implication for recommendation profitability." [Kent, Ohio] : Kent State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1189720217.
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Thesis (Ph.D.)--Kent State University, 2007.Title from PDF t.p. (viewed Mar. 19, 2009). Advisor: Ran Barniv. Keywords: recommendation optimism, research analyst rules, residual income valuation, stock returns. Includes bibliographical references (p. 145-156).
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BATTAGELLO, FRANCO MARIA. "Intangible Asset Analytics: rating Strategic Capital and gauging business performance an atomized perspective." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2014. http://hdl.handle.net/2108/203511.
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ZAMPATTI, DAVIDE. "GAUGING ETHNIC AND SOCIAL INEQUALITY IN URBAN CONTEXTS: THE CASE OF BRESCIA, ITALY." Doctoral thesis, Università degli Studi di Milano, 2019. http://hdl.handle.net/2434/634805.
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This dissertation aims to improve our understanding of the link between migrant ethnicity, space and socio-economic inequality. In the last three decades, the migratory pressure in Europe has reached significant levels. The massive flux of different ethnic groups has created significant tensions in many countries, causing widespread political conflicts and is now eroding the credibility of traditional political institutions. Here, we focused on three main issues, i.e., the residential segregation of immigrants, the immigrant’s earnings at the neighbourhood level and the school choice of immigrant families. Our approach has been quantitative and has tried to combine and integrate certain social, economic and geographical factors. The core of our study has been a detailed analysis on a census-style database on the Italian city of Brescia, which permitted us to geolocalise households at a block level. The structure of the dissertation includes four main chapters followed by a conclusion chapter. First presents an extensive literature review that examined various socio-economic aspects of migrations. We first considered housing market discrimination, segregation theories, segregation measurement. Besides we introduced literature on labour market discrimination, social inequality and neighbourhood and network effects. Furthermore, we reviewed second generation problems, education inequality, social cohesion and assimilation theories. The second presents an empirical study on Brescia, one of the most relevant cities in Italy for the share of immigrants. While this context allowed us to reflect on complex forms of segregation in South Europe, we explored segregation in the city. We analysed segregation by aggregate ethnic groups to cover the whole city immigrant population. These aggregates are East Europeans, South Asians, Middle Easterns and North Africans, Sub Saharan Africans, Chinese, East and South East Asians and South Americans. Segregation is particularly strong for South Asians and Chinese communities. The third chapter examines neighbourhood effect on immigrants’ earnings. The chapter considers the economic and social nexus of segregation by estimating neighbourhood effects on immigrants’ earnings within an urban context. For doing this, we linked socio-economic and spatial-demographic characteristics of immigrants by following an “egohood” approach, which jointly considers socialisation and proximity effects. An egohood is an ego-centred circular neighbourhood of given dimension around individual residence. We found that immigrants in areas with high probability to meet co-ethnics had lower earnings; there was no effect for the probability to meet natives. The fourth examines ethnic differentials in school choices in primary school as a determinant of education inequality. Education inequality is crucial in countries receiving considerable levels of migrations. We hypothesised that households choose schools by homophily, i.e. they chose a school with a high percentage of co-ethnics. Furthermore, we hypothesised that and households prefer schools with a high share of high socio economics status-pupils while being constrained by geographical proximity. Households are sensitive to socio-economic status, ethnic composition and home-school distance. However, we also found that choices by second-generation immigrants, i.e., those who were born in Italy, had lower differences with natives, while born abroad children display different choices. The fifth presents conclusions, limitation and future developments of this dissertation. Finally, some chapters reproduce independent research articles. This implies that some repetitions are possible, especially when discussing previous research and presenting the study context.
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Bilodeau, Annik. "The Politics of Cosmopolitanism in Contemporary Spanish American Literature: Elena Poniatowska, Mario Vargas Llosa, and Jorge Volpi Within a Disputed Tradition." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35573.
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This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation.
The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.
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Mottini, Marta. "Gauging the Universe: the Effect of the Metallicity on the Cepheid Period-Luminosity Relation." Diss., [S.l.] : [s.n.], 2006. http://edoc.ub.uni-muenchen.de/archive/00005806.
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