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1
Monteiro, Stephen. "Faire écran : la surface de projection comme enjeu esthétique dans l'art contemporain." Paris 1, 2007. http://www.theses.fr/2007PA010719.
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Cette thèse examine le rôle de l'écran de projection dans les arts plastiques depuis les années 1960. Elle traite de l'écran de deux façons. La première est historique: elle consiste à retracer l'évolution de l'écran dans l'art contemporain. L'autre axe considéré, esthétique, consiste à analyser les enjeux conceptuels générés par l'écran. Puisque la surface de projection relève de l'objet et de l'environnement, elle semble se situer à la fois à l'intérieur et à l'extérieur de l'œuvre. En :s'organisant autour d'une analyse des propriétés physiques et du fonctionnement de l'écran, cette !thèse place ce dernier à la confluence. De trois pratiques : les arts plastiques, la pratique cinématographique et l'exposition muséale. Chaque chapitre examine un aspect formel ou conceptuel qui peut être significatif ou récurrent dans l'emploi de l'écran à travers ces trois possibilités, et ce en cherchant à trouver le juste milieu entre les artistes et les œuvres célèbres et ceux qui le sont moins.
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Lespinois, Jérôme de. "De la défense du sanctuaire à la projection : l'armée de terre française des années 1970 à 1996." Paris 4, 2000. http://www.theses.fr/2000PA040198.
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Ce travail étudie l'armée de Terre française du milieu des années 1970 à 1996. Le milieu des années 1970 correspond aux premières mesures de professionnalisation partielle. En 1996, Jacques Chirac décide de professionnaliser la totalité des effectifs des armées. Le milieu des années 1970 coïncide également avec une modification de l'environnement stratégique, politique, économique et militaire de l'armée de Terre et avec l'accession des forces nucléaires et du corps de bataille français au seuil de crédibilité. L'étude analyse le rôle et la place de l'armée de terre dans plusieurs ensembles : diplomatie, intégration européenne, politique d'équipement militaire, politique industrielle, politique budgétaire de l'état et politique d'aménagement du territoire. Au cours de la période deux dates importantes déterminent une réorientation de la politique de défense : 1981, avec l'arrivée au pouvoir d'un président et d'une majorité socialistes et 1989, avec la chute du mur de Berlin. La première partie analyse la place de l'armée de Terre dans la politique de défense, son organisation et ses matériels, au seuil de la période. La seconde partie examine le renforcement des capacités, le développement des missions et des activités de l'armée de Terre sous le septennat de Valéry Giscard d’Estaing. La période 1981-1989 se caractérise par la décélération des dépenses militaires et le renforcement des forces nucléaires. Le corps de manœuvre sort du système dissuasif en perdant la mise en œuvre des armes nucléaires d'ultime avertissement, tandis que l'armée de Terre devient de plus en plus l'outil privilégie de la politique européenne du pays, et de sa place sur la scène internationale. A partir de 1989, les bouleversements stratégiques, les interventions extérieures et la brutale réduction des crédits militaires conduisent à une rénovation profonde des forces armées et de l'armée de Terre.
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Shen, Jianfa. "Analysis and projection of multiregional population dynamics in China, 1950-2087." Thesis, London School of Economics and Political Science (University of London), 1994. http://etheses.lse.ac.uk/1281/.
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This research focuses on an analysis of multiregional population dynamics of China at two spatial levels. The first part of the thesis is about urban-rural population dynamics in China. The forces determining urbanization process are discussed. The concepts of multiregional population accounts and forward demographic rates are used to analyze the urban-rural population change. Urban-rural life tables and an urban-rural population projection model are developed. A demo-economic model is used to drive the urban- rural population migration and transition in the population projection model. Three urban-rural population projections are made for the period 1987-2087 assuming various fertility trends in urban and rural populations. A growth stage (before the late 2030s) and a stable stage (after the late 2030s) of population development in China are identified on the basis of these projection results. The second part of the thesis is about multiregional (provincial level) population dynamics in China. The main features of the spatial distribution of China's population and regional trends in population change since the 1950s are examined. Fertility, mortality and migration analyses are carried out to reveal the major factors affecting regional disparities. Finally, a more precise and straightforward multiregional population projection model based on forward demographic rates is developed by introducing extended multiregional population accounts. The model is calibrated using 1982 census data and 1987 one-percent population sampling data to produce a multiregional population projection of China. Future provincial population trends are revealed. The implications of the future long-term population trends both at the urban-rural and provincial levels are discussed in the concluding chapter of the thesis. Population growth will continue to be a major problem facing China in the next 40 years. Economic reform and development may have both negative and positive effects on population development. Smooth transition to a market economy, continued steady growth of China's economy and a slowdown of population growth will augur well for the future in China.
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Choe, Hee jin. "L’invention de la star de chanson française à l’aube de l’industrie musicale : edith Piaf et le star-système des années 1930 et 1940." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080056.
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Cette étude a pour l’objectif d’examiner l’industrie musicale et le star-system des années 1930 et 1940. Certaines stars de cette période occupent encore une place considérable dans la mémoire collective ; parmi elles, Édith Piaf est encore régulièrement mentionnée par les médias en 2018. Un public de masse et de nouvelles formes culturelles populaires se forment parallèlement aux transformations politiques et économiques de la période du Front Populaire. Les acteurs musicaux commencent alors à déployer des stratégies de répétition et d’innovation. Ainsi, apparaissent : la réinterprétation de chansons à succès, l’imitation du style d’interprètes célèbres et l’introduction du jazz dans la chanson. À l’aube de l’industrie musicale, la radio prend l’avantage sur le disque dans la fabrication de stars. En effet, les stations radiophoniques privées rivalisent et diffusent la musique gratuitement. Par ailleurs, ces médiateurs font apparaître des chanteurs célèbres pour attirer davantage d’amateurs et de consommateurs. Sous l’Occupation, ce médiateur contribue fortement à la déformation de la réalité. Edith Piaf développe un style propre faisant appel aux émotions et développe ce qu’on appelle aujourd’hui, la « chanson d’amour » française. Sous l’Occupation son traitement médiatique a pour résultat de la re-former en tant que figure représentant « le passé en bonheur » sur lequel est projeté le « je impuissant » des individus, pour reprendre une expression de T.W. Adorno. L’image d’Édith Piaf et ses chansons sont par ailleurs des espaces de médiation de l’individualisme et du féminisme. Ainsi, la star n’est pas simplement fabriquée par les stratégies du star-system : la répétition et l’innovation. Elle découle aussi du fait que son image, son style, ses œuvres musicales et son discours dans les médias imprègnent certaines idéologies dans la réalité sociale<br>This study aims to examine the music industry and the star system of the 1930’s and 1940’s. We still talk today about some stars of the 1930s and 1940s. Among them, one French star that is recalled internationally by the media is Edith Piaf; she continues to be regularly mentioned by the media in 2018. A mass audience and new popular cultural forms appear simultaneously to the political and economic evolutions which occurred at the time of the Front populaire in France. From the 1930’s onwards, the French music industry star-system works with the logic of repetition and innovation, for example, release of cover songs, imitation of the style of famous performers and the introduction of jazz into French popular songs. At this dawn of French music industry and star system, radio stations take priority over record companies in the making of stars. In fact, the commercial radio stations are competing among each other and they play popular songs without extra cost for listeners. Furthermore, in the period of Nazi occupation, radio plays a major role in the propagation of the political ideology of the collaborationist Vichy government. Edith Piaf develops her emotional expressions, and creates her own style, what we call today, the `French love song´. During the German occupation of France, she was transformed into a symbolic figure of `the beautiful days of the past´ on which, as Adorno claims, the `lethargic self of individuals´ is projected. The image of Edith Piaf and her songs are also spaces of mediation for individualism and feminism. In short, the star is not simply manufactured by star-system strategies of repetition and innovation. The star is also born when his image, his style, his musical works and his media discourse penetrate certain ideologies in the specific social reality
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Torricelli, Emily. "Projecting the nation : constructions of Scotland in film since 1979." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13597/.
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This thesis examines questions of the continued significance of national cinemas and identities, focussing on the case of Scottish cinema. As a small, devolved nation with relative autonomy from the United Kingdom, Scotland presents an interesting case for how films are labelled with a national identity, as Scottish films can also often be understood in a British, European, and even global context. Rather than attempting to construct a working model of Scottish cinema based on representation or production context, I ask how films have been constructed as Scottish. I approach the concepts of Scotland and Scottish film as sets of meanings that are subject to change over time and in different contexts. This facilitates a perspective which asks in what ways Scotland and Scottishness is constructed in film. I examine how multiple identities are balanced in the filmic construction of Scotland first by considering how Scottish films—both those made in and which are about Scotland—from the early 1980s to the present construct Scottish identities. I will consider the way these films explored ‘traditional’ Scottish identities in the 1980s, Scottish masculinity in the 1990s, and Scottish identities based on ethnicity and gender in the 2000s and 2010s. Second, I look at how these films are received as Scottish by examining reviews and other press materials to determine how the Scottishness of the films considered is discursively constructed for potential audiences.
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Sequeira, Ana Catarina Teixeira Romão. "Estudo da evolução da ocupação do solo na paisagem de Ribeira de Pena entre 1970 e 2006. Possíveis causas e perspectivas futuras." Master's thesis, ISA/UTL, 2011. http://hdl.handle.net/10400.5/4212.
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Mestrado em Arquitectura Paisagista - Instituto Superior de Agronomia<br>This thesis aims to study the landscape changes that occurred between 1970 and 2006 in the municipality of Ribeira de Pena, in northern Portugal. For such, it was resorted the comparison of fixed points in the Land Use Letter, the National Forest Inventory (IFN) of 1970 and the 5th IFN of 2006.
Throughout the study period, the various land uses analyzed undergone some changes regarding their location according to hypsometric, slope, and exposure factors.
Qualitatively, some uses have remained, others suffered a transition to other types of occupation, and others demonstrated a possible tendency of extinction. It was observed a decrease of Agriculture and Eucalyptus, and an increase of Shrubland and Social Areas. The rest of the uses showed no unique grow tendency.
Maintaining the system conditions, the projection expected in the future is an increase in Social Areas, Bushes and Softwoods, while Eucalyptus, Other Hardwoods and Agriculture decrease. In the event of fire, Bushes and Social Areas will expand unlike other types of land use.
In conclusion, the changes at the socio-economic level, the development of Bushes and Forest Area were the main causes responsible for the modifications in the studied landscape.
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Duncan, Rosemary. "Projecting Ireland : the historical consciousness of Irish film in the 1990's." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/17615.
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Bibliography: pages 112-114.<br>In the following dissertation, I have undertaken to explore the very wide-ranging yet largely unexplored territory of Irish cinema. I have confined my study to the 1990s (other than a brief overview of the Irish film industry in my Introduction) in an attempt to express the revolutionary global success that all aspects of Irish culture have experienced in this decade. The central point, which I reiterate throughout the dissertation, is that, while Irish filmmakers are increasingly concerned with defining "Irishness" for themselves and the world, they inevitably encounter much confusion and ambivalence, and are often criticised for it. For this reason, I have uncovered many ambiguities in the films I have watched, which defy strict categorisation, other than in terms of their settings, which I describe in terms of "war-torn Belfast", modern Dublin and "the rural idyll". Nonetheless, I have divided the essay into three main sections, other than the Introduction and Conclusion, which themselves contain subsections, and which encompass the major themes which recur in Irish films. Section Two is a broad study of those films which deal with the political violence, known as the Troubles, that defines Northern Ireland. This includes a stereotyped American portrayals as well as a more recent IRA bias, beginning with Neil Jordan's attempt to put a new version of history on film in Michael Collins. The conclusion I come to is that filmmakers are ultimately trying to provide a balanced view of the situation and one that condemns violence. Section Three deals with the intertwined themes of women, family, sexuality and the Catholic Church. The traditional conservatism in Ireland is outlined before I show how recent films reflect the changes in moral attitudes and the new freedoms of sexuality that the younger generation is experiencing. Lastly I look at the special situation of women in the North, where they and their families are the long-suffering victims of the violence. Section Four continues the theme of the changes which are sweeping over "Modern Ireland", largely due to its opening-up to outside influences, particularly those of America. The dichotomies of this newly-modernised society are still evident, as I discuss in the section on the historical importance of land, which is expressed not only in the "rural idyll" films, but in those which deal with the move to the urban lure and squalor of Dublin. Finally I look at how the traditional and mythical still exist in modern Ireland, and how the combination of these aspects of the past and present is shown to suggest a positive way into the future.
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Hartrick, Elizabeth. "Consuming illusions : the magic lantern in Australia and Aotearoa/New Zealand 1850-1910 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00002203.
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Guy, Stephen. "After victory : projections of the Second World War and its aftermath in British feature films, 1946-1950." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1445.
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With reference to British feature films about the Second World War, the received wisdom among film historians has been that in the immediate aftermath of the conflict film-makers and audiences no longer had an appetite for the subject of war. The perceived dearth of war-related films in the first five or so years of the peace is seen as representing a gap in the production of war films between those made during the war itself and the boom in war film production that got under way from the early fifties. This thesis establishes that such an assumption is mistaken, and that a considerable body of war and aftermath films were made, screened and enjoyed by audiences. The argument,then, is that far from ignoring the war in the late forties, as has been assumed, the film industry was actively involved in the cultural process of re-interpreting the experience and its consequences. The second theme of the thesis is an analysis of these films, and an exploration of how they projected the war and its aftermath to contemporary audiences, and why particular perspectives,subject interests,underlying values and preoccupations emerged. A multi-faceted body of films, they are shown to engage with the shifting concerns and preoccupations of a population emerging from war, and to be a distinctive phase in the cinematic history of the conflict.
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Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080064.
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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier<br>“Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium
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Fung, Chi-keung, and 馮志強. "The change of household size in Hong Kong, 1973-1983: projection and implication for private housingdevelopment." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31263173.
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Widdis, Emma Kathrine. "Projecting a Soviet space : exploration and mobility in Soviet film and culture, 1920-1935." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/273070.
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Perry, Theresa Fried. "Functional relationship between forebrain cholinergic projections and somatostatin neurons in the rat." Thesis, Virginia Tech, 1990. http://hdl.handle.net/10919/41603.
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The two neuron types that initially degenerate with Alzheimer's Disease are the cholinergic projections from the septum to the hippocampus and from the substantia innominata to the cortex, and the somatostatinergic neurons in the hippocampus and cortex. The functional relationship between these two types of neurons was investigated using folic acid, a neuro-excitant, and cysteamine, a somatostatin depleter.
Folic acid causes a neuron to fire at a much higher rate than normal (Spector, 1971). Folic acid was injected into either the septum or the substantia innominata, and the long-term effect of the resulting acute hyperactivity of the cholinergic neurons on somatostatin neurons was measured as somatostatin-like immunoreactivity in the hippocampus and cortex. Glutamic acid decarboxylase activity, a marker for gamma-amino butyric acid (GABA) neurons, was also measured because it has been shown to decrease in the cortex after injection of folic acid into the substantia innominata. The administration of folic acid to the cholinergic neurons did not have a significant long-term effect on somatostatin-like immunoreactivity nor glutamic acid decarboxylase activity; therefore, a hyperactivity of the cholinergic neurons did not result in degeneration of GABAergic nor somatostatinergic neurons.
Cysteamine causes a short-term depletion of somatostatin. Cysteamine was injected subcutaneously and the effect of an acute decrease of brain somatostatin on the cholinergic neurons was studied by measuring high affinity choline uptake, an indicator of cholinergic activity. Administration of cysteamine had no measured effect on high affinity choline uptake in the hippocampus or frontal cortex; therefore, a depletion of somatostatin did not effect cholinergic activity. The assay for high affinity choline uptake was tested by injection of pentobarbital, a drug known to decrease high affinity choline uptake. We detected a decrease in high affinity choline uptake after pentobarbital administration, indicating that if cysteamine were decreasing high affinity choline uptake, the assay would have detected it.<br>Master of Science
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Fung, Chi-keung. "The change of household size in Hong Kong, 1973-1983 : projection and implication for private housing development /." [Hong Kong : University of Hong Kong], 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12316684.
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Liao, Minxiong. "La projection de l’économie chinoise vers l’international." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030041.
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Après une orientation privilégiant l’exportation et les IDE entrants, la Chine continue à poursuivre son intégration à l’économie mondiale en abordant une projection accélérée de son économie vers l’international marquée par les investissements directs à l’étranger des entreprises chinoises. En très peu de temps, la Chine est devenu la principale source de flux d’IDE parmi les pays en développement. Ce phénomène présente des caractéristiques spécifiques et a pris une ampleur inattendue. L’économie étatique de la Chine nous amène à conclure souvent qu’il existe derrière ces mouvements les motivations politiques et la mise en place d’une stratégie d’État au sein de ces activités. Néanmoins, le gouvernement n’a pas vraiment joué un rôle décisif dans ce phénomène. Le comportement du gouvernement du pays d’origine est en fait un des facteurs exogènes qui peuvent affecter la configuration OLI! [Dunning, 1993a] de ses entreprises et donc les caractéristiques des activités d’investissement à l’étranger de ses entreprises. Le dynamisme et les spécificités des investisseurs chinois sont plutôt à l’origine d’une forte volonté entrepreneuriale qui coïncide avec une maturation des entreprises chinoises grâce au développement économique du pays. Une étude approfondie sur les motivations des entreprises chinoises nous montre que la recherche du marché a été la motivation principale des entreprises chinoises et qu’elles possèdent des avantages spécifiques ex ante qui sont à l’origine de sa nationalité, tels que l’imperfection du marché de capital, la flexibilité et le réseautage des entreprises chinoises<br>After an orientation focusing on export and inward FDI, China continues its integration into worldeconomy by an accelerated projection of its economy to the world, which is demonstrated by Chinesecompanies’ outward direct investment. In a very short time, China has become the main source of FDI flow among developing countries. This phonomenon has shown particular characteristics and has taken off at an unexpected scale and speed. The state economy of China leads us to conclude usually that there is any political motivation and national strategy behind these activities. Nevertheless, the government didn’t play a decisive role in this phenomenon. The behaviors of home country’s government is in fact one of the exogenious factors that can affect the OLI configuration [Dunning, 1993a] of its companies and therefore the characteristics of the outward investment activities of its companies. The dynamic and the specificities of Chinese investors are rather derived from a strong entrepreneurial desire which coincides with a maturation of Chinese companies thanks to the economic development of China. An in-depth study on Chinese companies’ motivations has shown us tha! t market-seeking is the principal motivation of Chinese companie’ outwart investment and they possess ex ante specific advantages derived from their nationality,such as capital market imperfection, flexibility and networking capacity
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Menou, Hervé. "La prise de possession de l'espace et la projection vers l'avenir dans l'oeuvre de Julien Gracq." Paris 12, 1997. http://www.theses.fr/1997PA120103.
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Un regard sur l'ensemble de l'oeuvre gracquienne est désormais possible. Prenant acte du fait que J. Gracq cesse d'écrire des textes de fiction à partir de 1970, on peut définir les caractéristiques de l'investissement du moi et les lignes de force de l'imaginaire en prenant en compte les versants romanesques, poétiques, critiques, autobiographiques. Pour cerner avec précision les modalités d'écriture du moi gracquien, il est nécessaire d'étudier la façon avec laquelle l'écrivain se situe par rapport à la littérature et la figure emblématique d'A. Breton. L'écriture gracquienne n'ignore pas, comme dans l'autobiographie traditionnelle, les fliations entendues au sens strict du terme, ou celles plus proprement littéraires, construites ou imaginées. Le texte gracquien propose un modèle du souvenir assez classique mais son auteur n'entreprend à aucun moment le récit complet de sa vie intime, il offre, par le jeu de l'écriture fragmentaire, une image littéraire et parfois ambiguë du moi. Ce travail de composition littéraire trouve sa pleine signification dans une relation intime au temps et à l'espace ; tout d'abord dans les représentations de l'enfance présentées comme de véritables mythes personnels, d'autre part, l'écriture autobiographique gracquienne est très fortement tributaire d'un rapport à l'histoire. L'étude de la relation du moi à l'espace met à jour des données nouvelles : l'espace urbain, au premier chef la ville de Nantes, offre des possibilités de projections imaginaires constantes dans l'oeuvre qui sont aisément repérables depuis un Beau ténébreux. En cheminant dans la vie et la littérature, Gracq accorde une importance croissante aux représentations du moi et de la ville, mettant ainsi à jour le rapport de l'intimité aux grands thèmes de prédilection de l'oeuvre<br>It is now possible to have a global vision of gracq's works. As julien gracq stopped writing fiction after 1970, the features of the investment of the self and the main axes of the imaginary can be defined by taking into account the novelistic, poetic, critical, autobiographical aspects. In order to throughly understand the writing modes of the gracq self, it is necessary to study the writer's relationship towards literature and andre breton's emblematic figure. Like in traditional autobiographies, gracqian writing neither dismisses the filiations in the strict sense of the word nor the more literary ones, built and imagined. Gracqian writing proposes a somewhat classical pattern of memory, but the author never undertakes to make a complete narration of his private life; by means of a fragmentary style of writing, he offers a literary, sometimes ambiguous image of the self. This work of literary composition finds its full meaning in an intimate relation to time and space, first of all in the representations of childhood presented as true personal myths. On the other hand, gracqian autobiographical writing is extremely dependent on history. Studying the relation of the self to space reveals new data: the urban space, first of all the city of nantes, offers possibilities of imaginary projections, always present in the works, that have been easy to identify since un beau tenebreux. Strolling in life and literature, gracq grants growing importance to the representations of the self and the town, thus bringing to light the relation of privacy to the main favorite themes of his works
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Vacher, Hélène. "Projection coloniale et ville rationalisée : le rôle de l'espace colonial dans la constitution de l'urbanisme en France, 1900-1931 /." Aalborg : Aalborg university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb38979378d.
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Lachmann, Niels. "Dynamiques d'intégration et de désintégration dans une communauté de sécurité : la projection européenne et transatlantique de l'Espagne." Phd thesis, Université Montesquieu - Bordeaux IV, 2007. http://tel.archives-ouvertes.fr/tel-00250941.
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Les relations de l'Espagne démocratique avec les États européens et nord-américains et les organisations multilatérales dans l'espace transatlantique marquent plusieurs transformations importantes. D'abord instrumentales et limitées, elles deviennent de plus en plus étroites, ce que confirme de manière paradoxale la part importante jouée par l'Espagne lors de la récente crise des relations transatlantiques. En s'appuyant sur le concept de communauté de sécurité pour l'étude des dynamiques inclusives et exclusives qui y ont lieu, ce travail propose une lecture certes a priori positive de l'intégration communautaire espagnole, mais démontre aussi que cette trajectoire, si elle permet de dédramatiser durablement certains conflits, en crée aussi d'autres, qui peuvent mener à la crise de communauté d'un côté, à l'action violente contre des acteurs extérieurs de l'autre.
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Miño, Cerda Rodrigo. "Análisis y proyecciones del consumo per-cápita de azucar en Chile, período 1975-2003." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/101805.
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Triquell, Ximena. "Projecting history : a socio-semiotic approach to the representations of the military dictatorship (1976-1983) in the cinematic discourses of Argentine democracy." Thesis, University of Nottingham, 2000. http://eprints.nottingham.ac.uk/11710/.
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This thesis analyzes a series of films that, in different ways, seek to represent the last Argentine dictatorship. The possibility of interpreting the thematic and formal recurrences of the films as a defining characteristic of a specific genre is posed as a first hypothesis. The second hypothesis postulates the possibility of relating certain aesthetic and rhetorical changes of the series to certain socio-political processes. After presenting a general overview of some of the various forms in which the relationship between cinema and society has been theorized before, the work proposes the instance of enunciation as a principle of articulation between textual and social systems, analysing the subjects involved in each of these levels and the relationship that can be established between them. The apparatus of enunciation (between textual figures), which can be related to the reading contract (between social subjects) can also be associated with the notion of genre. In this context, the thesis explores the possibility of a redefinition of cinematographic genres from the perspective of the Semiotics of Passions. Having established in the previous chapters the theoretical and methodological basis, the second part of the work consists of the analysis of the enunciation in the films of the corpus, in order to establish the main characteristics of the reading contract proposed to the spectator. The analysis starts with the consideration of the genre known in television as "docudrama", paying particular attention to the relationship between what is filmed and the "real", that this genre seeks to establish. This is followed by the partial conclusions of the analysis of the totality of films included in the corpus. A first systematisation of the general characteristics of the films considered allows for a definition of a new genre which we termed "documelodrama".
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Leturcq, Celine. "Tableau, la fabrique du sujet." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080038/document.
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Si le tableau est un objet ancien supplanté par un grand nombre de pratiques contemporaines, certainsartistes développent toujours leur recherche autour et avec lui. Se pose dès lors la question de son actualité. EnFrance au début des années 80, les pratiques picturales abstraites sont laissées de côté au profit d’une nouvellepeinture ouverte aux influences internationales et d’un art qui, au final, se passe de cet objet. C’est toujours lecas aujourd’hui, bien que l’on constate un regain d’intérêt pour le tableau ces dernières années. Ce n’est pas sanscompter sur la force structurale de cet objet ancien mais présent à d’autres endroits et dans d’autres pratiquessocioculturelles que la peinture et l’art contemporains, notamment à travers ces nouvelles fenêtres que sont lesécrans numériques et, avant eux, la photographie, le cinéma et la télévision. Aussi le tableau a-t-il encore debeaux jours devant lui, à interroger la place du sujet dans l’image que ses cadres, déplacés, nous proposent, ànourrir et déployer des espaces-temps qui a priori n’ont rien à voir avec son archaïsme. Dès lors, il s’agit decomprendre en quoi et pourquoi quelques individus aujourd’hui, en France notamment, continuent de peindre etd’avoir une pratique de fabrications d’objets et d’images à l’atelier, dans l’acception traditionnelle du terme<br>If the age-old practice of painting has been supplanted by a large number of contemporary approaches tomaking art, certain artists are still primarily painters who make work about painting. This raises the question ofits relevance. In France in the early 1980s, abstract pictorial practices were left aside in favor of both a new kindof painting open to international influences, and an art that ultimately abandoned painting altogether. This is stillthe case today, although there has been a renewed interest in painting in recent years. This has to do, firstly, withthe structural force inherent to painting and the construction of pictorial space. Secondly, it has to do withsociocultural phenomena outside the realm of contemporary art : photography, film and television, and morerecently the widespread use of digital screens, have lead to the creation of new pictorial spaces. Painting still hasa promising future as a means of questioning the subject’s relationship to the image ; the shifting boundaries ofthe painted picture (the tableau) enrich and enlarge time-space frameworks, which, a priori, have nothing to dowith painting as an archaic practice. This thesis, therefore, attempts to understand how and why some individualstoday, especially in France, continue to paint, to make objects and images in their studios, in the traditional senseof the term
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Tatsch, Luisa Bertuol. "A política externa do Governo Lula : um novo pragmatismo responsável?" reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/61194.
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Este trabalho analisa, de modo comparativo, a política externa dos governos Geisel (1974-1979) e Lula (2003-2010). Busca-se evidenciar que houve uma “continuidade matizada” na diplomacia brasileira nos dois períodos: muito embora não se vislumbre um processo sem quaisquer rupturas em termos de política externa entre 1974 e 2010, assiste-se à retomada, pelo governo Lula, de diretrizes, métodos e argumentos de política externa prevalecentes à época do governo Geisel. Assume-se que essa retomada esteve ligada a semelhanças relacionadas à concepção do interesse nacional e à adoção de uma estratégia realista de inserção internacional – a despeito de cada um dos governos deparar-se com cenários internacionais diversos e dispor de recursos de poder distintos.<br>This study analyses the Brazilian foreign policy under Geisel (1974-1979) and Lula (2003-2010) administrations by using the comparative method. One of the study‟s core objectives is to show that one can observe a “relative continuity” in the Brazilian diplomacy during both periods: even though one cannot observe a process without any rupture in the Brazilian foreign policy from 1974 to 2010, it is possible to verify that Lula administration resumed some guidelines, methods and rationales which were employed by the Brazilian foreign policy during Geisel administration. It is assumed that this resumption is related to national interest concept and the adoption of a realist strategy aimed at widening Brazil‟s international projection – in spite of different international contexts and different power resources.
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Lagasnerie, Grégoire de. "Trois essais en économie de la santé sur la régulation de la demande de soins de ville s'appuyant sur la méthode de micro-simulation." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0093.
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Les différentes études menées dans cette thèse apportent un éclairage sur différentes problématique en économie de la santé ( système de remboursement des soins, sensibilité de la demande de soins aux prix, prévision de la dynamique des dépenses de soins) à travers la technique de la micro simulation. Cette thèse est composée de trois articles. Les deux premiers articles de cette thèse contribuent à améliorer la compréhension des mécanismes relatifs à la régulation de la demande de soins par le biais du système de remboursement. Le dernier article analyse l'évolution de la demande de soins de ville à moyen et long terme. Le premier article porte sur l'analyse en termes d'équité et de couverture du risque d'une réforme du système remboursement des soins des villes en France. Le deuxième article étudie les conséquences pour l’assurance-maladie et les assure de la prise en compte des changements de comportements dans une micro-simulation de réformes du système de: remboursement des soins en France. Le troisième article à partir de l'étude des différentes méthodes de projections dans la littérature économique, analyse d'un point de vue dynamique les évolutions de la demande de soins de ville liées au vieillissement de la population<br>This thesis sheds light on various issues in health economics (reimbursement system of care, sensitivity of the demand for health care prices , prediction of the dynamics of care expenses ) through the technique of micro -simulation. This thesis is composed of three articles. The first two articles of this thesis contribute to improved understanding of the mechanism related to the regulation of health care demand through the reimbursement system. The last article analyzes the evolution of the demand for care in the medium and long term. The first article focuses on the analysis in term of equity and hedging of reform of the reimbursement system of healthcare services in France. The second article examines the implications for health insurance and the insured of changes in consumption behavior of insured following a reform of the reimbursement system of cafe in France. The third article, from the study of different methods of projections in the economic literature analyzes the dynamic of outpatient healthcare expenditure related to the ageing population
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Richier, Christine. "Josef Svoboda, poète de l'immatériel : une étude de la place de la lumière et autres moyens immatériels de la scénographie – projection, réflexion, cinétique – dans l’oeuvre de Josef Svoboda." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2116.
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Le scénographe tchèque Josef Svoboda (1920 – 2002), auteur de près de sept cents scénographies sur les scènes du monde entier, est souvent présenté comme un maître de la lumière et de l’utilisation de technologies avancées à la scène. Mais quel est le contexte qui lui a permis de cumuler tant de réalisations et faire entrer en scène tant de procédés innovants, tout en vivant derrière le rideau de fer ? Quelle place tiennent la technique, l’image et la lumière dans sa pensée de l’espace dramatique ? Et quelle est la nature exacte de cette maîtrise de la lumière qu’on lui attribue ?Pour répondre à ces questions, cette étude s’articule autour d’entretiens inédits menés avec Josef Svoboda en 1993. Elle invite à le suivre en coulisses, pour découvrir la façon dont la lumière se pense et se construit au théâtre et à l’opéra. L’étude emprunte aux écrits sur le théâtre des contributeurs du Cercle Linguistique de Prague (1928 – 1939), dont la pensée, méconnue en France, a forgé celle de Svoboda et éclaire d’un jour nouveau les interactions entre les différents composants de la représentation. Il est ici question de lumière, mais aussi de réflexion, de projection, de cinétique scénique ou de traitement du signal en temps réel, autant de moyens immatériels, impalpables dans leur manifestation scénique, que Svoboda a développés et qui sont devenus les ingrédients majeurs de la scénographie du XXIe siècle<br>The Czech scenographer Josef Svoboda (1920 - 2002), author of approximately 700 scenographies performed around the world, is often presented as a master of light and advanced technologies for the stage. The thesis questions the contextual conditions which enabled him to cumulate so many achievements and introduce numerous innovative processes for the stage, while living behind the Iron Curtain? What place does technique, image and light have in his thinking of dramatic space? And what is the precise nature of the mastery of the lighting that we endow him ?To answer these questions, this study is based on unpublished interviews with Josef Svoboda which took place in 1993. The study invites us to examine off stage content to discover how light is reflected and built in theatre and opera. The thesis builds on the writings of the Linguistic Circle of Prague (1928 - 1939), whose thoughts, unknown in France, forged that of Svoboda and shed new light on the interactions between the different components of performance. This addresses the question of light, but also of reflection, projection, kinetics and signal processing in real time.The accumulation of these immaterial means that Svoboda developed, impalpable by their scenic manifestation for actors and spectators, have become the major ingredients of scenography of the 21st century
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Rodrigues, Schausteck de Almeida-Le Prioux Bruna. "Les stratégies énergétiques et l'insertion internationale du Brésil : 2003-2010." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA189.
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« [L]e Brésil sera dans vingt ou trente ans la plus grande puissance énergétique de la planète Terre ». Cette phrase du président Luiz Inácio Lula da Silva en 2006 démontre l’ambition du gouvernement en transformer l’énergie en atout pour une meilleure place du Brésil dans le Système International. Ainsi, à la lumière du concept d’État Logistique du professeur Amado Cervo, l’objectif principal de la recherche est l’analyse de l’insertion de l’énergie, et plus spécifiquement celle du pétrole, du nucléaire et de l’éthanol dans la politique étrangère brésilienne pendant les deux mandats du gouvernement Lula (2003-2010), ainsi que leur impact sur les stratégies de projection internationale du Brésil. L’énergie apparaît ici, par conséquent, comme un instrument de politique étrangère, mais sans perdre de vue que la « fabrication » de cet objet se fait à l’intérieur du territoire brésilien, avec les interactions entre les acteurs publics et privés. L’originalité de cette étude est donc la mise en avant des interactions des acteurs sectoriels nationaux avec le Ministère des Affaires Étrangères et avec le président. Par le biais d’une recherche bibliographique, de l’analyse de documents officiels mais aussi d’entretiens avec les acteurs énergétiques, nous démontrons que le déploiement de la politique étrangère liée à l’énergie est le fruit d’interactions et d’influences internes, mais aussi de contraintes internationales<br>‘Brazil will be the biggest energy power in the planet in twenty or thirty years’. President Luiz Inácio Lula da Silva gave this statement in 2006. It demonstrates the ambition of his government to transform the energy in an asset to a better positioning of Brazil in the International System. Using the concept of Logistic State from Amado Cervo, this research aims to analyse the projection of energy (specifically petroleum, nuclear and ethanol) within the Brazilian foreign policy during Lula’s two mandates (2003-2010), as well as its impacts on the strategy of projecting Brazil internationally. Energy appears in this study as an instrument of foreign policy, noticing that the ‘fabrication’ of this object happens within the Brazilian territory, through the interaction of public and private actors. The originality of this study is the emphasis on interactions of national sectional actors with the Foreign Policy Ministry and with the president. Through a literature research, the analysis of official documents as well as interviews with energy players, we demonstrate that the deployment of the foreign policy on energy issues is the result of internal interactions and influences, but also of international constraints<br>"O Brasil será em vinte ou trinta anos, a maior potência do planeta Terra." Esta frase do presidente Lula em 2006 demonstra a ambição do governo em transformar a energia em uma ferramenta para uma melhor posição do Brasil no Sistema Internacional. Assim, à luz do conceito de Estado Logístico do professor Amado Cervo, o principal objetivo da pesquisa é a análise da inserção da energia, e mais especificamente do petróleo, do nuclear e do etanol na política externa brasileira durante os dois mandatos do governo Lula, e seu impacto sobre as estratégias de projeção internacional no Brasil. A energia aqui aparece, portanto, como um instrumento de política externa, mas sem perder de vista de que a "fabricação" desse objeto se dá dentro do território brasileiro, com a interação entre atores públicos e privados. A originalidade deste estudo é destacar as interações dos atores nacionais do setor com o Ministério das Relações Exteriores e com o presidente, demonstrando assim que a implementação da política externa relacionada com a energia é o resultado de interações e influências internas, mas também de limitações internacionais
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Honore, Thibault. "Sculpture et cinéma : emprunts et perméabilités dans le champ de l'art contemporain et du cinéma." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC003.
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La rencontre entre le cinéma et les arts du volume relève d’un principe de perméabilité. Le travail des cinéastes, qui se sont essayés à l’installation, témoigne de phénomènes d’hybridations connexes. Si le cinéma gagne l’espace d’exposition, c’est pour y retrouver les données séculaires de sa monstration. Le septième art voit dans sa déterritorialisation vers l’objet d’art tridimensionnel, l’expression réaffectée de son histoire. Le déplacement du cinéma dans le champ des œuvres d’art en volume doit donc être interrogé selon un principe de survivance. En feignant d’amortaliser les êtres qu’il capture, le cinéma trouve dans la sculpture un moyen de présentifier la mort. Dans notre travail plastique, cette entreprise passe par un procédé formel reconnaissable : le renversement. De ce geste plastique, dont nous postulons qu’il est métonymique d’une forme d’enfouissement, naît l’idée que le cinéma et la sculpture s’inscrivent tous deux dans un régime funéraire de l’art<br>The meeting of cinema and sculpture must be analyzed through a principle of interrelationships. The work of movie directors, who tried to realize sculptures and installations, proves similar phenomena of hybridization. When cinema leaves the theatre for an exhibition, it is also to find again, with the updating of new plastic forms, the secular data of its screening. With its transfer towards the sculpture the cinematographic art acquires the new expression of its personal history. Knowing this, the movement of cinema towards sculpture must also be questioned in the light of a principle of survival. By pretending to a-mortalize the beings that it shoots, the cinema find in sculpture a means to nurture its macabre labour. Besides, this display of death undergoes a very identifiable formal process : the inversion. We may then identify this plastic gesture with the metonymical figure of a burying. Thus, both cinema and sculpture seem to join in a funeral system of art
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Taira, Kunihiko (Sam). "The Immersed Boundary Projection Method and Its Application to Simulation and Control of Flows Around Low-Aspect-Ratio Wings." Thesis, 2008. https://thesis.library.caltech.edu/1990/3/Taira_thesis.pdf.
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<p>First, we present a new formulation of the immersed boundary method that is algebraically identical to the traditional fractional step algorithm. This method, called the immersed boundary projection method, allows for the simulations of incompressible flows over arbitrarily shaped bodies under motion and/or deformation in both two and three dimensions. The no-slip condition along the immersed boundary is enforced simultaneously with the incompressibility constraint through a single projection. The boundary force is determined implicitly without any constitutive relations for the rigid body formulation, which in turn allows the use of high CFL numbers in our simulations compared to past methods.</p>
<p>Next, the above immersed boundary projection method is used to analyze three-dimensional separated flows around low-aspect-ratio flat-plate wings. A number of simulations highlighting the unsteady nature of the separated flows are performed for Re = 300 and 500 with various aspect ratios, angles of attack, and planform geometries. The aspect ratio and angle of attack are found to have a large influence on the stability of the wake profile and the force experienced by the low-aspect-ratio wing. At early times, following an impulsive start, topologies of the wake vortices are found to be the same across different aspect ratios and angles of attack. Behind low-aspect-ratio rectangular plates, leading-edge vortices form and eventually separate as hairpin vortices following the start-up. This phenomenon is found to be similar to dynamic stall observed behind pitching plates. The detached structure would then interact with the tip vortices, reducing the downward velocity induced by the tip vortices acting upon the leading-edge vortex. At large time, depending on the aspect ratio and angles of attack, the wakes reach one of the three states: (i) a steady state, (ii) a periodic unsteady state, or (iii) an aperiodic unsteady state. We have observed that the tip effects in three-dimensional flows can stabilize the flow and also exhibit nonlinear interaction with the shedding vortices.</p>
<p>At last, we apply steady blowing to separated flows behind the low-aspect-ratio rectangular wings. The objective of the flow control is to enhance lift at post-stall angles of attack by changing the dynamics of the wake vortices. This controller strengthens the tip vortices by engulfing the trailing-edge vortex sheet to increase the downward thrust and the downward induced velocity onto the leading-edge vortices. The tip vortices that are traditionally considered as an aerodynamic nuisance, have been used favorably to increase lift in post-stall flows for the considered low-aspect-ratio wings.</p>
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FARHOODFAR, AVID. "The Effect of Disorder on Strongly Correlated Electrons." Thesis, 2011. http://hdl.handle.net/1974/6688.
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This thesis is devoted to a study of the effect of disorder on strongly correlated electrons. For non-interacting electrons, Anderson localization occurs if the amount of disorder is sufficient. For disorder-free systems, a Mott metal-insulator transition may occur if the electron-electron interactions are strong enough. The question we ask in this thesis is what happens when both disorder and interactions are present. We study the Anderson-Hubbard model, which is the simplest model to include both interactions and disorder, using a Gutzwiller variational wave function approach. We then study Anderson localization of electrons from the response of the Anderson-Hubbard Hamiltonian to an external magnetic field. An Aharonov-Bohm flux induces a persistent current in mesoscopic rings. Strong interactions result in two competing tendencies: they tend to suppress the current because of strong correlations, and they also screen the disorder potential and making the system more homogenous. We find that, for strongly interacting electrons, the localization length may be large, even though the current is suppressed by strong correlations. This unexpected result highlights how strongly correlated materials can be quiet di erent from weakly correlated ones.<br>Thesis (Ph.D, Physics, Engineering Physics and Astronomy) -- Queen's University, 2011-08-31 09:51:47.155
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Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.
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The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.
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PIAO, XIAOXUE. "State Complexity of Tree Automata." Thesis, 2012. http://hdl.handle.net/1974/6937.
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Modern applications of XML use automata operating on unranked trees. A common definition of tree automata operating on unranked trees uses a set of vertical states that define the bottom-up computation, and the transitions on vertical states are determined by so called horizontal languages recognized by finite automata on strings. The bottom-up computation of an unranked tree automaton may be either deterministic or nondeterministic, and further variants arise depending on whether the horizontal string languages defining the transitions are represented by DFAs or NFAs. There is also an alternative syntactic definition of determinism introduced by Cristau et al.
It is known that a deterministic tree automaton with the smallest total number of states does not need to be unique nor have the smallest possible number of vertical states. We consider the question by how much we can reduce the total number of states by introducing additional vertical states. We give an upper bound for the state trade-off for deterministic tree automata where the horizontal languages are defined by DFAs, and a lower bound construction that, for variable sized alphabets, is close to the upper bound.
We establish upper and lower bounds for the state complexity of conversions between different types of deterministic and nondeterministic unranked tree automata. The bounds are, usually, tight for the numbers of vertical states. Because a minimal deterministic unranked tree automaton need not be unique, establishing lower bounds for the number of horizontal states, that is, the combined size of DFAs used to define the horizontal languages, is challenging. Based on existing lower bound results for unambiguous finite automata we develop a lower bound criterion for the number of horizontal states.
We consider the state complexity of operations on regular unranked tree languages. The concatenation of trees can be defined either as a sequential or a parallel operation. Furthermore, there are two essentially different ways to iterate sequential concatenation. We establish tight state complexity bounds for concatenation-like operations. In particular, for sequential concatenation and bottom-up iterated concatenation the bounds differ by an order of magnitude from the corresponding state complexity bounds for regular string languages.<br>Thesis (Ph.D, Computing) -- Queen's University, 2012-01-04 14:48:02.916
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Ncube, Tisang Manabalala. "Rainfall variability and change in South Africa (1976-2065)." Diss., 2019. http://hdl.handle.net/11602/1466.
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MENVSC (Geography)<br>Department of Geography and Geo-Information Sciences<br>Rainfall is undoubtedly the most significant factor for life’s continuity. South Africa is prone to future climate uncertainties due to global climate change. The aim of this study is to investigate rainfall variability and change in South Africa on a present day (1976-2005), near-future (2006-2035) and far-future (2036-2065) climate. For the study, 3 RCMs (REMO2009, RCA4 and CCLM4-8-17), forming part of CORDEX-Africa project were nested within 5 different CIMP5_GCMs of low resolution. GPCC precipitation, NOAA GHCN_CAMS Land Temperature and other NCEP reanalysis products were useful in validating models in simulations of present-day climate. RCP4.5 and RCP8.5 emission scenarios from IPCC-AR5 were used for future climate projections. On the validation, each regional climate model displayed different signature on simulations, rainfall in particular because this is a variable that is affected most by sub-grid process. Simulations nested within MIROC5 simulated more precipitation than simulations forced with other GCMs, due to more large-scale moisture convergence into the nested domain. There were differences in projections of RCM nested within the same GCM, as well as with the same RCM nested within different GCMs, on the future. Models nested within MPI project wetter conditions over the eastern parts of Limpopo, while the other two projected drier conditions in the same area. REMO2009 forced on MPI uniquely projected drying of Western Cape throughout the seasons on both RCPs and futures. Simulations conducted with the RCP8.5 scenario forcing are generally found to be associated with either a larger increase in temperature, or an increase in area associated with higher temperature increases. CCLM4-8-17 forced on HadGEM2 projected below average temperatures over the northwest parts of the country under the RCP8.5 scenarios. MPI driving model projected a general reduction of evaporation values, with lowest over northeast, northwest parts and south coastal parts of South Africa, in contrary to adjacent oceans. In this study, we have sought to identify the sources of uncertainties amongst model simulations between either the RCMs or the driving GCMs.<br>NRF
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Sicwebu, Noel Zanoxolo. "The representation of character in Es'kia Mphahlele's writings : a comparison of the autobiography Down Second Avenue (1959) and the novel The Wanderers (1971) with his philosophy in The African Image (1974)." Diss., 1999. http://hdl.handle.net/10500/16030.
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Literary representation of character in South Africa is not just problematic but also
complicated by racial dynamics, which easily lead to prejudiced portrayal by most
writers. Mphahlele's reaction to White writing's "distortion" of the image of
Blacks, in his critical texts resulted in his being labelled a protest writer.
Concerning his creative writing, he admits that he initially couldn't portray the
character of a white person roundedly due to limited acquaintance with him.
What he only knows about him and therefore depicts in his early writings is the
White stereotype. His acquaintance with the White world through varied
interaction gives a leverage that improves his portrayal of the White character.
Consequently his later works reflect objective representation of characters from
different races. The study therefore concludes that he falls outside the bracket
of protest writers, as his literary works prove to transcend the limitations of
stereotypical character representation.<br>Afrikaans and Theory of Literature<br>M.A. (Theory of Literature)
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Seidel, Markus. "On some Banach Algebra Tools in Operator Theory." Doctoral thesis, 2011. https://monarch.qucosa.de/id/qucosa%3A19670.
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Die vorliegende Arbeit ist der Untersuchung von Operatorfolgen gewidmet, die typischerweise bei der Anwendung von Approximationsverfahren auf stetige lineare Operatoren entstehen. Dabei stehen die Stabilität der Folgen sowie das asymptotische Verhalten gewisser Charakteristika wie Normen, Konditionszahlen, Fredholmeigenschaften und Pseudospektren im Mittelpunkt.
Das Hauptaugenmerk liegt auf der Entwicklung der Theorie für Operatoren auf Banachräumen. Hierbei bildet ein dafür geeigneter Konvergenzbegriff, die sogenannte P-starke Konvergenz, den Ausgangspunkt, welcher das Studium der gewünschten Eigenschaften in einer erstaunlichen Allgemeinheit gestattet.
Die erzielten Resultate kommen, neben einer Reihe weiterer Anwendungen, insbesondere für das Projektionsverfahren für banddominierte Operatoren zum Einsatz.
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Nováková, Iveta. "Populační vývoj ve Švédsku od roku 1960." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-437803.
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Population development in Sweden since 1960 Abstract This diploma thesis deals with the population development in Sweden between 1960 and 2018. The main goal of this work is to evaluate in the context of selected demographic characteristics the course of demographic changes that appeared in the country after 1960. The result is changes in the level of demographic reproduction, which are referred to as the second demographic transition. From the 1960s to the present, Sweden has seen an increase in the average age at first marriage, an increase in the average age of the mother giving birth and an increase in the number of divorces. During the observed period, the Swedish population aged, the share of the pre-productive component of the population decreased, while the share of the post-productive component in the population increased. The development of total fertility in Sweden is often compared to a roller coaster due to its specific fluctuation. From 1960 to 2018, Sweden saw a decline in mortality rates, especially in the older age groups and up to one year of age, which was reflected in the values of life expectancy at birth that grew for both men and women. Sweden is inspiring for other European countries with its gender-neutral family and social policy. Keywords: population development, Sweden, second...