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Dicaire, Francine. "Symbolisme et senefiance dans le Roman de la Rose de G. de Lorris." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43852.pdf.
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Delille, Damien. "Le troisième genre : androgynie et trouble de la masculinité dans les arts visuels en France au passage du XXe siècle." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010584.
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Cette thèse entend analyser la figure de l’androgyne du mouvement symboliste à l’avant-garde abstraite. La relecture de la modernité au passage du XXe siècle en France permet de comprendre de quelle manière le symbolisme a exploré le trouble de la sexualité dans un contexte sociopolitique de crise de la masculinité. L’étude visuelle et anthropologique des normes sexuelles révèle une angoisse de l’entre-deux androgyne, associée aux théories psychopathologiques de l’homosexualité. Cette thèse démontre de quelle manière l’androgynie correspond à ce que nous intitulons « le troisième genre » artistique, défini par le rejet des assignations de genre et par de nouveaux modèles de représentation et d’intersubjectivité, issus de l’immersion du féminin dans le masculin. Dans la première partie, l’étude des sources néo-classiques et spirituelles de l’androgyne révèle la recherche d’un idéal politique et artistique permettant la régénération de l’unité des sexes. La deuxième partie envisage la résurgence de cet idéal dans les pratiques symbolistes fin-de-siècle, à travers différents modèles androgynes comme la figure de l’ange, celles d’Orphée et du troisième sexe primitif. Face au trouble des identités sexuelles, la réception de l’idéalisme est analysée à partir de la rhétorique de la dégénérescence associant androgynie, efféminement du masculin et homosexualité. La quatrième partie examine la poursuite de l’idéal androgyne dans les sources de l’abstraction. Le troisième genre abstrait alimente l’utopie avant-gardiste d’un art qui s’auto-génère, dépourvu de caractère sexué et créé par un artiste moderne, célibataire et androgyne<br>This thesis aims to analyze the figure of androgyny from the movements of Symbolism to the abstract avant-garde. This reinterpretation of modernity at the turn of the 20th century in France allows an understanding of how Symbolism explored the trouble of sexuality within a social and political context entrenched by the crisis of masculinity. The visual and anthropological study of sexual norms reveals a fear of the androgynous in-between associated with psychopathological theories of homosexuality. This thesis demonstrates how androgyny is tied to what I call the artistic “third gender,” defined by the refusal of gender assignation and new models of representation and intersubjectivity, following the feminine immersion within the masculine. In the first part, the study of the Neoclassical and spiritual sources of androgyny demonstrates the search for the political and artistic ideal, allowing for the regeneration of the unity of sex. The second part reveals the resurgence of this ideal in the fin-de-siècle Symbolist's practices through different androgynous models such as the figure of the angel, the ones of Orpheus and the primitive third sex. Toward the trouble of sexual identities, the reception of idealism is analyzed through the rhetoric of degeneration associating androgyny, masculine effeminacy and homosexuality. The last part examines the pursuit of the androgynous ideal in the sources of abstraction. The abstract third sex nourishes the avant-gardist utopia of an art that is self-perpetuating, devoid of sexual characteristic and led by a modern artist, single and androgynous
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Latino, Piero. "La Rose initiatique. Des Fidèles d'Amour à la littérature européenne des XIXe et XXe siècles." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL150.
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La présente thèse porte sur les relations entre littérature et courants ésotériques, à travers l’étude du symbole de la rose dans la littérature européenne, plus particulièrement dans les littératures française et anglaise des XIXe et XXe siècles. Il s’agit d’une recherche caractérisée par une approche transversale et interdisciplinaire, qui fait dialoguer différents domaines d’étude, le littéraire et l’historique, ainsi que plusieurs littératures et auteurs appartenant à différentes époques. La dimension initiatique de la rose, couplée avec le topos de l’amour, est au fondement de notre travail de recherche, dont le point de départ est un ouvrage oublié du XIXe siècle : Il Mistero dell’Amor Platonico nel Medioevo de Gabriele Rossetti, père du peintre et poète préraphaélite Dante Gabriele Rossetti. Dans cet ouvrage, Gabriele Rossetti montrait pour la première fois la dimension ésotérique de l’œuvre de Dante et des Fidèles d’Amour, à savoir les poètes d’amour italiens du Moyen Âge, qui véhiculaient, à travers leurs compositions poétiques, des idées mystiques et initiatiques, ainsi que religieuses et politiques. Selon Rossetti le courant critique qu’il inaugura, cette doctrine de l’amour ésotérique était également présente chez les poètes d’amour des différents pays européens, tels que les troubadours et les trouvères français, les poètes d’amour anglais, les minnesingers allemands ou les scaldes scandinaves, et elle se transmettra au cours des siècles, jusqu’au XIXe siècle. Ce dernier aspect est au centre de notre recherche : la transmission de cette présumée connaissance ésotérique, sous forme d’amour, dans l’âge moderne. Dans son Mistero dell’Amor Platonico, Gabriele Rossetti souligne que le symbole le plus important pour comprendre la doctrine ésotérique de l’amour est la rose, et notre travail est centré sur le symbolisme de la rose. L’étude de la dimension initiatique de la rose dans la littérature comporte deux discours rattachés au concept d’initiation : un discours relatif au mysticisme et un discours sur les Ordres initiatiques. Dans le premier cas, l’initiation est liée à une dimension mystique impliquant une transformation ontologique de l’être ; dans le second cas, le symbolisme de la rose se réfère aux Ordres ésotériques et initiatiques qui, d’une manière plus ou moins directe, ont joué un rôle dans l’histoire des idées. Ces deux discours sont souvent liés entre eux, et se retrouvent dans la littérature européenne, en particulier chez Gérard de Nerval ou William Butler Yeats. La première partie de notre thèse est consacrée à Dante, aux poètes du Moyen Âge et aux auteurs de la Renaissance. Nous nous concentrons ensuite sur les auteurs des XIXe et XXe siècles, tels que Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats ou Umberto Eco. La majorité des écrivains et des poètes qui font l’objet de notre thèse sont directement ou indirectement liés à Dante et à la poésie d’amour du Moyen Âge, aux Fidèles d’Amour, et même à Gabriele Rossetti. Notre thèse propose de repenser une littérature dans laquelle la culture et la pensée ésotériques ne jouent pas un rôle secondaire, mais fondamental. Maintes œuvres littéraires de toute époque sont imprégnées d’éléments et de motifs renvoyant à la tradition ésotérique. L’étude de la dimension ésotérique et initiatique du symbole de la rose conduit donc à explorer un horizon de recherche dans lequel la littérature est étroitement liée aux courants ésotériques, notamment les littératures française et anglaise, et plus généralement la littérature européenne des XIXe et XXe siècles. Ainsi, de la rose des Fidèles d’Amour du Moyen Âge à la Rose secrète de William Butler Yeats qui affirmait que « ni homme ni femme depuis le commencement du monde n’a jamais su ce qu’est l’amour »<br>This thesis focuses on the relationship between literature and esoteric currents, through the study of the symbol of the rose in European literature, more specifically in French and English literature of the nineteenth and twentieth centuries. This research is based on a transversal and interdisciplinary approach, bringing together different fields of literary and historical study, as well as a variety of literatures and authors from different periods. The initiatory dimension of the rose, coupled with the topos of love, is the basis of my research, whose starting point is a forgotten work from the nineteenth century: Il Mistero dell'Amor Platonico nel Medioevo by Gabriele Rossetti, father of the Pre-Raphaelite painter and poet Dante Gabriele Rossetti. In this work, for the first time Gabriele Rossetti revealed the esoteric dimension of the work of Dante and the Fedeli d’Amore (Faithful of Love) – the Italian love poets of the Middle Ages who, through their poetic compositions, conveyed mystical and initiatory ideas, as well as religious and political ones. According to Rossetti and the critical movement he initiated, this doctrine of esoteric love was also present in the love poets in a number of European contexts, such as the French troubadours and trouvères, the English minstrels, the German Minnesänger and the Scandinavian scaldes, handed down through the centuries until the nineteenth century. This aspect is the focus of my research: transmission of this alleged esoteric knowledge, in the form of love, to later centuries. In his Mistero dell’Amor Platonico, Gabriele Rossetti pointed out that the most important symbol for understanding the esoteric doctrine of love is the rose, and this thesis is devoted to the symbolism of this flower. The study of the initiatory dimension of the rose in literature involves two themes linked to the concept of initiation: one concerns mysticism and the other, initiatory Orders. In the first case, initiation is linked to a mystical dimension involving an ontological transformation of the being, while in the second, the symbolism of the rose refers to esoteric and initiatory Orders which have more or less directly played an important part in the history of ideas. These two themes are often connected and can be found in European writers such as Gérard de Nerval and William Butler Yeats. The first part of this thesis is devoted to Dante and the poets of the Middle Ages, as well as to authors of the Renaissance. I then move on to nineteenth and twentieth century authors, such as Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats and Umberto Eco. Most of the writers and poets featured in this thesis are directly or indirectly linked to Dante and the love poetry of the Middle Ages, to the Fedeli d’Amore, and even to Gabriele Rossetti. Thus, this research proposes a rethinking of literature – one in which esoteric culture and thought are of particular importance, as many literary works throughout history are imbued with elements and motifs referring to the esoteric tradition. The study of the esoteric and initiatory dimension of the rose symbol provides the opportunity to explore a field of research where literature is closely linked to esoteric currents, particularly in French and English literature (and more generally, in European literature) of the nineteenth and twentieth centuries: from the rose of the Fedeli d’Amore in the Middle Ages to the Secret Rose by William Butler Yeats, who affirmed that “no man or woman from the beginning of the world has ever known what love is”
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Tavares, Maria Helena Silva. "Guimarães Rosa e a linguagem infantil : travessia no simbólico /." Rio de Janeiro : UFRJ, 1989. http://catalogue.bnf.fr/ark:/12148/cb36658226f.
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Pal, Nandinee. "The warrior and the rose : Spenser's iconography of chastity in The faerie queene." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74055.
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Guillaume-Coirier, Germaine. "Couronnes et guirlandes vegetales a rome des origines jusqu'a la mort d'auguste : mots et objets." Poitiers, 1987. http://www.theses.fr/1987POIT5023.
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Mattiacci, Angela (Angela Marie Rose) Carleton University Dissertation French. "Les sources, le role et le symbolisme de la forest de Broceliande de la fontaine et du lion dans le roman d'Yvain de Chretien de Troyes." Ottawa, 1989.
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Stevenin, Anne-Blanche. "Luc-Olivier Merson (1846-1920) : de la peinture d’histoire à la peinture décorative." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040268.
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Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècle<br>In 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography
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Fatemi, Sarah. "Saffron 'n Rose." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/687.
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GIRARD, SAUZEAU ANNE-MARIE. "Rose macaulay, romanciere." Angers, 1987. http://www.theses.fr/1988ANGE0007.
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L'introduction et la premiere partie presentent rose macaulay et son oeuvre. Un resume biographique rappelle ses antecedents familiaux et les episodes les plus marquants de sa vie (1881-1958), notamment son enfance en italie, ses etudes universitaires a oxford, sa rencontre avec gerald o'donovan, ses multiples voyages, enfin la serenite de ses dernieres annees, illuminees par la vigueur de sa foi retrouvee. Sont ensuite etudiees l'evolution de sa carriere litteraire et de sa reputation, ainsi que sa conception du genre romanesque et la genese de ses oeuvres. La deuxieme partie analyse les differentes facettes de l'oeuvre : romans d'une intellectuelle qui a le culte du savoir et dont l'erudition apparait a chaque page; romans d'une journaliste qui nous offre une riche chronique de la vie politique, sociale, religieuse dans la premiere moitie du vingtieme siecle; romans d'une historienne amoureuse du passe; romans d'une moraliste, tolerante et anti-conformiste. Dans la troisieme partie sont evoques les grands axes thematiques : le voyage, la femme, la religion. Voyageuse infatigable, elle ne reve que de pays lointains, mediterraneens ou exotiques; feministe moderee, elle nous revele, en defendant les droits de ses soeurs, l'idee qu'elle se fait de la femme; championne de l'anglicanisme, elle manifeste, malgre une longue periode d'agnosticisme, un interet constant pour la religion. La derniere partie est consacree a l'art de la romanciere : si sa technique reste traditionnelle, ses personnages sont remarquables de verite et de vie. Son ironie sarcastique, son ecriture tres personnelle, son recours frequent a l'image et au symbole, conferent a ses romans une indeniable originalite. Enfin, la conclusion tente de mettre en lumiere la complexite de cette personnalite secrete et attachante, et d'evaluer les merites de l'oeuvre romanesque<br>This study examines the 23 works of fiction published by rose macaulay in the first half of the twentieth century. As her writing had many close connections with her life, a biographical sketch can remind the reader of the most significant episodes of her life (1881-1958), especially her childhood in italy, her studies at oxford, her meeting with gerald o'donovan, her innumerable journeys and the serenity brought to her last years by her return to the church. The end of the first section deals with the evolution of her literary career and reputation, her views on the novel as a genre and the genesis of her works. The second section analyses the different aspects of her novels. They are the works of an intellectual who has a cult for knowledge and whose staggering erudition appears at every page; of a journalist who offers us a rich chronicle of the political, social and religious life of her time; of a historian deeply in love with the past; of a moralist, keenly aware of the tragic meaning of life, but who remains nevertheless a tolerant nonconformist. The third section discusses the three key motifs - travelling, woman and religion - of a writer who dreams of "abroad", especially mediterranean and exotic countries, who, although a rather moderate feminist, succeeds in creating a number of unforgettable female characters, and who, despite a long period of agnosticism, shows a constant interest in the church of england the last part is devoted to the art of the novelist. If her technique remains traditional, her characters are remarkably real and alive
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Girard-Sauzeau, Anne-Marie. "Rose Macaulay, romancière." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376139312.
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Nengovhela, Rofhiwa Emmanuel. "The role of symbolism in Tsivenda discourse : a semantic analysis." Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/2312.
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Nengovhela, Rofhiwa Emmanuel. "The role of symbolism in Tshivenda discourse : a semantic analysis." Thesis, University of Limpopo, 2010. http://hdl.handle.net/10386/1342.
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Fürmaier, Peter Jakob Verfasser], and Perdita [Akademischer Betreuer] [Pohle. "Rose is a Rose is a Rose is a Rose? Unternehmerische Verantwortung und sozial nachhaltige Regionalentwicklung in der Schnittblumenindustrie Ecuadors / Peter Jakob Fürmaier. Gutachter: Perdita Pohle." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2015. http://d-nb.info/1076673821/34.
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Prim, Joëlle. "Histoire de l'Aventin : Limites, fonctions urbaines et rôle symbolique d'un quartier romain (IIe siècle avant - 49 après J.-C.)." Paris 8, 2012. http://www.theses.fr/2012PA083465.
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L’Aventin, la plus méridionale des collines de la Rome antique, a joué un rôle singulier dans l’histoire de la Cité et dans la formation de son espace urbain. Mais la seule synthèse exhaustive qui lui soit consacrée reste, à ce jour, la monographie d’Alfred Merlin, publiée dans la BEFAR en 1906. Il y a pourtant eu d’importantes avancées sur la question depuis, aussi bien dans l’approche théorique de l’histoire urbaine de Rome, que dans les méthodes d’analyse des sources disponibles sur le sujet. En outre, ce corpus documentaire s’est considérablement enrichi, en particulier grâce au travail accompli ces vingt dernières années par les différents services archéologiques chargés des fouilles sur la colline. L’ensemble de ces éléments justifie une nouvelle étude de cet espace urbain. Pour autant, l’objectif de ce travail n’est pas de refaire une histoire exhaustive de l’Aventin. Concentrant l’enquête sur la période qui s’étend du IIe s. Avant J. -C. Jusqu’à l’intégration de l’Aventin dans l’enceinte pomériale, en 49 après J. -C. , cette recherche propose un état de la réflexion scientifique et de la nouvelle documentation disponible sur le sujet, mais elle vise surtout à renouveler notre façon d’envisager les singularités de cet espace urbain par le biais de nouveaux questionnements. Identifier les éléments qui définissent les confins de l’Aventin, étudier ses caractéristiques socio-urbaines et les confronter à l’image plébéienne de la colline qui s’élabore au cours de cette période et, enfin, étudier le paysage religieux et certaines fonctions spécifiques qui s’organisent autour de ses sanctuaires : tels sont les principaux thèmes qui structurent cette histoire discontinue de l’Aventin<br>The Aventine, the southernmost hill of ancient Rome, played a particular role in the City’s history and the shaping of its urban space. Nevertheless, the only exhaustive study of the Aventine is still the monograph by Alfred Merlin published by the BEFAR in 1906, even though substantial progress has been made since then, both in the theoretical approach to the urban history of Rome and in the methods of analysing the available sources on the subject. Moreover, this corpus of sources has been considerably enriched, especially through the work accomplished over the last twenty years by the various archaeological departments in charge of excavating the hill. The combination of these facts justifies a new study of this urban space. However, the aim of this research is not to rewrite a complete history of the Aventine Hill. Focusing on the period from the 2nd century B. C. Until the inclusion of the hill within the Pomerium in 49 A. D. , this study offers a status report on current scientific thinking and the new documentation available on the subject. Also, and more importantly, it aims to refresh our way of viewing the specificities of this urban space by posing new questions. Identify the factors that define the boundaries of the Aventine, study its socio-urban characteristics and compare them with the plebeian image of the hill that developed during this period, and study the religious topography and some of the specific functions that took place in and around its shrines: these are the principal themes structuring this discontinuous history of the Aventine
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Jones, Jeannie. "Rose Herbert Community Center." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2139.
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The “Rose Herbert Community Center” is the culmination of a project questioning how a building can be restored to its original integrity when its initial function has become extinct. This thesis considers the Broad Street Station in Richmond, Virginia and explores the options and implications of returning the building to a hub of interaction within the community. Concepts such as functionally malleable spaces, the transition from a very public environment to a more private area, and the creation of intentional interaction versus coexistence are explored.
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Hadji, Salah. "Le symbolisme dans le kantisme." Paris 12, 2002. http://www.theses.fr/2002PA120043.
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La thèse porte sur "Le symbolisme dans le kantisme". L'hypothèse est qu'il y a, chez Kant, une problématique de la "distinction" et de l"accord", et que cette problématique recouvre celle d'un double schématisme. Il s'ensuit que l'essentiel de la philosophie de Kant semble être construit sur le registre symbolique en fonction duquel les "éléments" de l'Architectonique -sensibilité, entendement, imagination et raison,- en s'opposant chacun en son ordre propre, continuent de communiquer pour nous donner un nouvel objet qui est l'existence, dans la puissance de ses affects. L'analyse porte sur les lieux d'ancrage où le symbole prend le sens de schème de la raison et se pose comme mode d'expression de l'absolu<br>My dissertation deals with "Symbolism in Kantism". My argument is that there is, in Kant's Philosophy, a problematic of "distinction" and "agreement". This problematic presents a double schematism. The gist of Kant's Philosophy seems to rest on the Symbolic register. The elements of Architectonic, -Sensivity, Understanding, Imagination and Reason, each in its own order, communicates in order to provide us with in a new "object", which is existence in all its affects. The Analysis is about how the symbol takes on the meaning of reason's schematism and becomes the mode of expression of the absolute
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Labaye, Pierre. "Eduard Mörike : symbolisme et transparence /." Berne : P. Lang, 1988. http://catalogue.bnf.fr/ark:/12148/cb36635089n.
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Labaye, Pierre. "Eduard Mörike : symbolisme et transparence." Rennes 2, 1987. http://www.theses.fr/1987REN20005.
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S'inscrivant en faux contre des prises de position récentes qui, sur des bases formelles, tendent à ériger le disparate en loi de la création morikéenne tout en considérant certains éléments de l'oeuvre comme des exemples de poésie absolue, la présente étude, centrée sur les images, démontre la cohérence remarquable de la vie, de l'esthétique et de la religiosité du poète. Morike utilise d'antiques figures mythiques qu'il ne laisse percevoir qu'en filigrane et sur lesquelles il se livre à un jeu délibéré, savamment construit, qui répond à une finalité multiple. Ce jeu revêt d'abord une fonction cognitive puisqu'il vise à dévoiler les invisibles puissances organisatrices de la matière en lesquelles le poète aperçoit, à la manière des esprits antiques, les forces éternelles et toutes-puissantes du destin naturel. La vision d'un temps prédateur déterminé ainsi chez lui le désir de retenir l'instant par la saisie des impressions fugitives. C'est ce qui fonde l'aspect impressionniste de sa sensibilité. Parallèlement, la claire conscience de la vie éphémère le conduit à rechercher, dans l'écriture, un refuge contre les nombreux visages qu'il donne au temps destructeur. Au fil des années, et plus nettement à partir de 1835, s'affirme le penchant hédoniste à dominer l'angoisse face aux caprices du destin par une quête de la proximité gratifiante des anciens dieux, en des images lumineuses qui conservent la grâce que Morike percevait chez Homère et Théocrite. Ainsi naît et se développe une esthétique très personnelle, unique en cette période de renouveau poétique. Entre la poésie morikeenne et la poésie romantique, il ne saurait être question de continuité. La conception d'une nature démonique et d'une temporalité prédatrice marque la rupture avec cette nature accueillante qui, pour le poète romantique, est une création du dieu chrétien. C'est donc aussi sur le plan des conceptions religieuses que Morike se démarque de l'époque précédente. Sa constante valorisation des anciens mythes païens constitue une critique voilée du christianisme, critique qui l'engage dans la grande controverse du siècle opposant, dans le sillage de D. F. Strauss, les esprits rationalistes aux défenseurs des dogmes chrétiens. Cependant, la position religieuse de Morike demeure originale. Tout en stigmatisant les dogmes chrétiens, le poète se différencie radicalement des rationalistes par sa conception grecque du divin et de la vie selon laquelle l'esprit se confond avec la nature<br>Rejecting recent stands which, on formal grounds, tend to establish the disparate as a principle of Morike's creation while considering certain elements of his work as examples of pure poetry, the present study focuses on his imagery to demonstrate the remarkable coherence of the poet's life, aesthetics and religious views. Morike takes ancient mythological figures as a subtle filigree which he carefully and deliberately manipulates to attain his various ends. This creative play first assumes a cognitive function, revealing the invisible organizing powers of matter in which the poet, like the ancients, perceives the eternal, all-powerful forces of natural destiny. His vision of time as a predator thus inspires his wish to preserve the moment by seizing his fleeting impressions. That is the basis of the impressionistic side of his sensibility. In parallel with this, his clear awareness of ephemeral life leads him to seek refuge in writing from the many faces he gives to destructive time. Over the years, and more sharply after 1835, his hedonistic tendence to overcome his anxiety at the vagaries of destiny by a quest for a satisfying approach to the ancient gods is confirmed in the luminous images that recapture the grace that Morike admired in Homer and Theocritus. Thus his very personal aesthetic ideal is born and develops, unique in this period of poetic renewal. There can be no question of any continuity between Morike's poetry and romantic poetry. His conceptions of demonic nature and predatory time mark a break with welcoming nature which is a creation of the Christian god for the romantic poets. Hence Morike also sets himself apart from the preceding period by his religious concepts. His constant bringing to the forefront of the ancient pagan myths constitutes a veiled criticism of Christianity, making him a party to the great controversy of his century opposing the rationalists in the camp of D. F. Strauss to the defenders of Christian dogma. Morike's religious position remains original, however. While he stigmatizes Christian dogma, the poet differs radically from the rationalists in his Greek concept of divinity and of life, according to which spirit and nature are one
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OLIVEIRA, LYSIANE WILLEMANN. "SOUND SYMBOLISM IN THE LETTERS EXCHANGED BETWEEN GUIMARÃES ROSA AND HIS TRANSLATORS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20712@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Este trabalho examina a correspondência entre Guimarães Rosa e seus tradutores alemão, italiano e norte-americana, com vistas à depreensão e análise de perspectivas rosianas sobre o simbolismo sonoro. Examinam-se as reflexões sobre o tema que se podem depreender (a) das considerações gerais que Rosa faz no corpo das cartas enviadas a seus tradutores; e (b) das detalhadas instruções que ele acrescenta em anexos, para dirimir dúvidas específicas colocadas pelos tradutores. Mostra-se, pela análise das epístolas, que a criação linguística rosiana tende a abarcar de forma deliberada e até certo ponto calculada a sonoridade sugestiva, por meio de singulares onomatopeias, aliterações, assonâncias e padrões rítmicos, resultando em um simbolismo sonoro. Conferindo carga expressiva, força e plasticidade ao texto, o simbolismo sonoro é um importante aliado nas estratégias rosianas de privar o leitor da bengala dos lugares comuns (carta a Harriet de Onis) e de convidá-lo a ter com a língua uma relação que não seja unicamente lógico-reflexiva (Carta a Edoardo Bizzarri). Mostra-se ainda que, no que tange às formas como dialogam com as teorias linguísticas, as reflexões e atitudes tradutórias de Rosa, tendendo à recusa do princípio da arbitrariedade do signo, apresentam convergências parciais com discursos teóricos que sustentam o simbolismo sonoro, em especial os de Jespersen e Jakobson.<br>This work examines the letters exchanged between Guimarães Rosa and his German, Italian and American translators,aiming to apprehend and analyse Rosa s perspectives on sound symbolism. It examines the reflections on the theme that can be inferred from (a) the general considerations that Rosa elaborates in the body of the letters sent to his translators, and (b) the detailed instructions he adds in attachments to resolve specific questions posed by them. It is shown, by analysis of the epistles, that Rosa’s linguistic creation tends to encompass suggestive sonority in a deliberate and somewhat calculated manner, by means of singular onomatopoeias, alliterations, assonances and rhythmic patterns, resulting in a sound symbolism. Charging the texts with expressiveness, strength and plasticity, sound symbolism is an important ingredient in Rosa s strategy to deprive the reader of the walking stick of common place (letter to Harriet de Onis) and to invite him to engage in a relationship with language that might go over the strictly logical-reflexive plane (letter to Edoardo Bizzarri). The study shows, moreover, that Rosa’s reflections and attitudes as a translator can be related to linguistic theories that tend to refuse the principle of the arbitrariness of the sign, also showing partial convergences with theoretical discourses that defend sound symbolism, especially those of Jespersen and Jakobson.
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Khanna, Shikha. "Symbolism of power : the Baroque Axis Model in Rome, Paris and Washington." Kansas State University, 1995. http://hdl.handle.net/2097/36116.
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Grauby, Françoise. "La création mythique à l'époque du symbolisme : histoire, analyse et interprétation des mythes fondamentaux du symbolisme." Montpellier 3, 1992. http://www.theses.fr/1992MON30011.
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Solomon, Anne Catherine. "Division of the earth : gender, symbolism and the archaeology of the southern San." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/21818.
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Bibliography: pages 180-207.<br>Gender studies in various disciplines, particularly anthropology, have shown that the opposition of masculine : feminine is commonly used to structure other cultural contrasts, and that the representation of this opposition in cultural products is in turn implicated in the cultural construction of gender content. This bidirectional problematic, supplementing the more limited critique of gender 'bias' and masculinist models, is the focus of this research into archaeological materials. Rock art is the principal archaeological 'trace' analysed. Because the impetus to gender studies comes principally from the critical standpoint of feminism, analyses of gender and gendering in archaeological materials are evaluated in the context of gender issues in the present day, in terms of archaeological 'reconstructions' as legitimising the existing gender order. Theoretical influences include feminism, hermeneutics, marxism, (post)- structuralism, semiotics, and discourse theory. Aspects of language, and, particularly, the oral narratives of various San groups - the /Xam, G /wi, !Kung, Nharo, and others - are examined in order to establish the way in which masculinity and femininity are/have been conceptualised and differentiated by San peoples. This is followed by an assessment of the manner of and extent to which the masculine: feminine opposition informs narrative content and structure. The analysis of language texts permits an approach to the representation of this opposition in non-language cultural texts (such as visual art, space). Particular constructions of masculinity and femininity, and a number of gendered contrasts (pertaining to form, orientation, time, number, quality) are identified. Gender symbolism is linked to the themes of rain and fertility/ continuity, and analysed in political terms, according to the feminist materialist contention that, in non-class societies, gender opposition is potentially the impetus to social change. Gender(ing) is more fundamental to San cultural texts than has been, recognised, being present in a range of beliefs which are linked by their gender symbolism. I utilise a 'fertility hypothesis', derived from a reading of the ethnographies, in order to explain various elements of Southern African rock art, Well-preserved (thus relatively recent) paintings, principally from sites in the Drakensberg and south-western Cape, were selected. Features interpreted via this hypothesis include: images of humans, the motif of the thin red line fringed with white dots, 'elephants in boxes', therianthropic figures, and 'androgynous' figures, including the eland. The spatial organisation of the art, the significance of non-realistic perspectives, and the problem of the numerical male dominance of the art are also interpreted from this standpoint. The analysis permits critique, of the theorisation of gender and ideology in rock art studies, and of the biophysical determinism implicit in current rock art studies, in which attempts are made to explain many features of the art by reference to trance states, altered consciousness and neurophysiological constitution. Rain, rather than trance, is proposed as the central element of San ritual/religious practices. Finally, the treatment of (or failure to consider) gender(ing) in the archaeological record is situated in relatio.n to contemporary gender ideologies, in the contexts of archaeological theory and practice.
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Marchant, Robert. "Biotechnological approaches to rose breeding." Thesis, University of Nottingham, 1994. http://eprints.nottingham.ac.uk/13901/.
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The production of new rose cultivars by sexual crossing is problematic and time consuming due to sexual incompatibility. the failure of seeds to genninate. and to a limited gene pool. Biotechnology provides an obvious alternative for the creation of genetic novelty in rose. This thesis focuses on the development of novel approaches, based on embryo rescue, pollen cryopreservation, protoplast and transformation technologies. A reproducible embryo rescue technique was developed in which embryos were excised and genninated on agar solidified medium containing a basic salt mixture and carbohydrate. The choice of carbohydrate and the growth conditions employed were demonstrated to markedly affect the percentage germination and subsequent plantlet development. This technique was used to greatly increase the production of F, hybrid progeny when compared to conventional germination methods. The failure of sexual crosses between several English rose cultivars was shown to be due to a combination of low pollen viability and to the operation of a pollen-style incompatibility mechanism (probably of the gametophytic self-incompatibility type). Degree of flower opening and method of pollen dehiscence were shown to significantly affect pollen viability. A technique was developed for the effective cryopreservation of English rose pollen. Using this technique it was possible to store pollen at ultra-low temperatures without any significant loss in viability. Such a technique compared favourably with conventional techniques (refrigeration and freezing) in which a loss in viability over time was demonstrated to occur. In vitro shoot cultures of English rose were established on MS-based media containing BAP. GA3 and NAA following the treatment of explants with an antioxidant solution to negate the effects of phenolic oxidation. The production of callus was shown to be genotype dependant and lacked regeneration potential. Rhizogenic responses were observed in leaf discs of two cultivars however shoot regeneration was not observed. Using a variety of enzyme mixtures it was possible to isolate protoplasts from both In vitro leaf material and from cell suspensions. Both mesophyll and cell suspension derived protoplasts were cultured to a microcallus stage. Plating density, growth regulator concentration and the use of antioxidants were all demonstrated to have a significant effect on the protoplast plating efficiency. Rhizogenesis was achieved from mesophyll protoplast-derived calli. Protoplasts, sometimes labelled with a fluorescent marker, were subjected to both chemical and electrofusion. Using micromanipulation, heterokaryons, formed during electrofusion, were recovered. Such heterokaryons, when cultured. underwent division and formed microcalli which subsequently developed into calli. The hybrid nature of such calli were conftrmed by isozyme analysis, determination of ploidy level and RAPD analysis. The introduction of a plasmid containing a gus marker gene into zygotic embryos of English rose was shown to be possible. This was achieved by microprojectile-mediated DNA delivery using a laboratory built electrical discharge device. The efficiency of this technique was influenced by the concentration of microprojectiles and DNA used. And by firing distance and choice of DNA construct. The relevance of this study and its applications, in the context of rose breeding are discussed.
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Mao, Yuanbo. "The Rose playhouse in context." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:86467c23-e16b-4ee4-b625-c8deea5cd491.
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This thesis conducts the first book-length study on the operation of the Rose playhouse as a key theatrical presence whose operational history spanned over a transitional period for early modern English theatre. Inspired by the current increasing awareness of the playing company as an organising unit in additional to the author-based perspectives for studying early modern English drama, this project undertakes the task of examining the Rose playhouse as a unit for theatrical production and a nexus where various strands of the material, cultural-geographical, political, financial, as well as literary forces converged and interacted with each other.
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Keenan, Brendan Owen. "Petals of a Rose Close." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406810012.
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Baskin, Sasha. "Will You Accept This Rose?" VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5328.
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Using figures from the popular culture program The Bachelor in a large-scale tapestry-style weaving, I address the drive to create idealized simulations in order to better understand one’s own reality and identity. Natural dye and traditional weaving processes in combination with digital weaving technology allow me to literally integrate the juxtaposition of analog and digital elements which defines a woven image.
Dye work and pattern allow for large gestural drawing marks while individual threads overlap to create literal pixelized imagery. I examine the act of weaving as the creation of screens through which one can see, hide, or obscure. I similarly question the role of the observer of a false reality and examine the choice to participate in, construct, or re-create a simulation.
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Richard, du Perron Stéphane. "Le symbolisme du dieu-createur potier." Paris 4, 1987. http://www.theses.fr/1987PA040025.
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Le symbole du dieu-createur potier, etudie dans ses manifestations mythologiques anciennes (civilisations antiques de la mesopotamie, de l'egypte et d'israel) et dans ses prolongements litteraires modernes, permet la mise en evidence d'un scheme symbolique meconnu. Celui-ci s'exprime par une collection de matieres, un reseau de gestes et des relations tissees par les divins modeleurs a l'instant de la creation. La portee de cette image, dans la variete de ses expressions, est la source de son remarquable universalisme<br>The symbol of potter-god, studied in its ancient mythological manifestations (antic civilisations of mesopotamia, egypt and israel) and in its modern literary extensions, may make evident a disregarded symbolicscheme, wich is expressed by a collection of materials, a combination of gestures and relations woven by the divine modellers at the very moment of creation. The extent of that image, in the variety of its expressions, is the source of its remarkable universalism
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VERSINI, MARIE-ANNE. "Le symbolisme feminin dans l'imaginaire insulaire." Corte, 1998. http://www.theses.fr/1998CORT2004.
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Nous avons choisi de porter notre etude sur le vecu d'une societe insulaire privilegiant une approche globale, volontairement pluridisciplinaire, tout simplement anthropologique. Dans cette approche de la tradition corse nous avons essaye de privilegier ce mouvement vital qui sans cesse relie l'homme au cosmos par la puissance d'une "parole". Contes, legendes, pratiques, facons de dire et de faire sont les vecteurs de cette communication dynamique, que nous avons tente d'apprehender par l'etude d'une constellation de symboles que nous avons nomme le symbolisme feminin. Le symbolisme feminin, tel que nous tentons de l'aborder, ne nous revele pas une "conception du monde" intellectuelle et abstraite mais condense un rassemblement de puissances interieures d'ordre purement experimental. Cette experience s'ancre au plus profond d'un espace vecteur d'energies et source de comportements : l'ile. Cette constellation, nous avons tente de l'approcher en constituant un corpus des plus larges, regroupant divers aspects du vecu de notre societe. Car, cette diversite seule nous permet d'entrevoir sa coherence et sa dynamique. Il est clair que pour nous l'etude de ce corpus n'est pas une fin en soi, c'est un fil, un des fils que tisse cette societe, un des liens qui la relie au "monde", et c'est cette liaison que nous avons tentee de privilegier. Afin : "d'y deceler des correlations, des reseaux, des carrefours, des regularites, en un mot quelques unes des reverberations mysterieuses dont se trouve marque, ou illumine l'epiderme du monde, depuis les dessins des pierres dans la matiere inerte jusqu'aux images des poetes dans le jeu apparemment libre de l'imagination" (caillois (r) approches de l'imaginaire nrf gallimard paris 1990). Mais, entre memoire et oubli, entre tradition et modernite, la societe corse tente aujourd'hui de renegocier ce rapport au monde. Que devient alors la parole d'hier, quelles voies emprunte-t-elle, comment la societe corse reactualise-t-elle cette communication essentielle entre l'homme et le monde?<br>We have chosen to study the actual experience of an insular society. We emphasized a global approach, which, on purpose, is a multi-field research, merely anthropological. In our approach of corsican tradition, we tried to privilege the vital mouvement which constantly links man to the cosmos thanks to the power of the word. Tales, legends, customs, speech and action are vectors of the dynamic communication which we attempted to apprehend thanks to the study of a constelletion of symbols we called feminine symbolism. Feminine symbolism, as we try to deal with it, doesn't reveal an intellectual and abstract" conception of the world" but concentrates a gathering of purely experimental internal powers. This experience deeply anchors itself in a space which is the vehicle of energies and behaviour : the island. We tried to approach the constellation by creating a very large corpus, including several aspects of the actual experience of our society. For only this variety allows us to catch sight of its consistency and dynamism. It is obvious that the study of this corpus is not our main aim; it is a string, one of the strings that concoct our society, one of the links that connect it to the world; and we tried to lay the stress on that link in order to : "detect correlations, networks, cross-roads, regularities, in a word some of the mysterious reflections which mark or enlighten the epiderm of the world, from the drawing of stones in inanimate matter to the metaphors of the poets in the apparently free game of imagination" (caillos (r) approches de l'imaginaire gallimard nrf paris 1990). Yet, between memory and oblivion, between tradition and modernity, corsican society tries today to renegociate this relation to the world. What, then, is happening to yesterday's speech; whih course is it taking; how is corsican society bringing this fundamental communication between man and the world up to date?
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Le, Quellec Jean-Loïc. "Symbolisme et art rupestre au Sahara /." Paris : Éd. l'Harmattan, 1993. http://catalogue.bnf.fr/ark:/12148/cb35613873f.
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Richard, du Perron Stéphane. "Le Symbolisme du dieu-créateur potier." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609352m.
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Demiaux, Victor. "La construction rituelle de la victoire dans les capitales européennes après la Grande Guerre (Bruxelles, Bucarest, Londres, Paris, Rome)." Paris, EHESS, 2013. http://www.theses.fr/2013EHES0082.
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Ce travail retrace l' histoire des rituels de clôture de la guerre dans les capitales européennes après 1918. Le premier chapitre explore l'histoire de la ritualité publique en Europe depuis la fin du dix-neuvième siècle et pendant la Grande Guerre. Les deuxième et troisième chapitres envisagent la ritualisation de l'armistice et de la fin des combats en novembre 1918. Les trois chapitres suivants abordent les grandes célébrations de la victoire consécutives à la signature de la paix, dont le moment festif de juillet 1919 à Paris, Londres et Bruxelles constitue l'expression initiale et la plus achevée. Le chapitre 4 consiste en une présentation et en une analyse symbolique de la morphologie de ces trois célébrations. Le chapitre 5 revient ensuite sur l'histoire de leur élaboration. Le chapitre 6 poursuit l'étude des célébration de la victoire dans deux cas (Rome et Bucarest) où le processus de sortie de guerre s'avéra particulièrement complexe. Le chapitre 7 déploie la question de la réception des rites de victoire en se concentrant sur une seule fête, le 14 juillet 1919. Un épilogue, enfin, élargit à nouveau la perspective, aussi bien chronologique que géographique en envisageant sur un mode synthétique la dernière étape de la trajectoire rituelle des sociétés européennes victorieuses, l'invention du Soldat inconnu. Ce travail remet en cause l'idée selon laquelle l'activité commémorative publique postérieure à la Grande Guerre aurait pour fonction de répondre à des besoins des sociétés et des endeuillés. Il met en lumière, à travers l'étude du rituel public l'existence d'une culture interalliée dans les premières années de la sortie de guerre<br>This work traces the history of the ritual closing ofthe war in the European capital cities after 1918. The first chapter explores the history of the public rituals in Europe since the end of the nineteenth cent ury and during th Great War. The second and third chapters deal with the celebrations organized in connection with the armistice and the end of the war in November 1918. The next three chapters address the major victory celebrations which took place after the signing of the peace treaty. Chapter 4 is a presentation and a symbolic analysis of the morphology of the three major celebrations organized in Paris, London and Brussels in July 1919. Chapter 5 focus on the organizational process. Chapte 6 explores two cases (Rome and Bucharest) where the process ofending the war proved particularly complex. Chapter 7 deals with the problem of the reception of the rites ofvictory by focusing on the Parisian case. An epilogue considers the last series ofrituals set up by the victor societies, the burials of the Unknown Soldiers. This work challenges the idea that public commemoration after the Great War was designed to meet the needs of bereaved individuals and societies. It highlights, through the study of public ritual, the existence of an inter-Allied Cultur down to the early twenties
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Brown, Patricia. "The role and symbolism of the dragon in vernacular saints' legends, 1200-1500." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/5414/.
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This thesis looks at the role and function of the dragon in the saint's encounter with the monster in hagiographic texts, written primarily in the vernacular, between 1200 and 1500. Those connotations accrued by the dragon which are relevant to this thesis are traced from their earliest beginnings. Although by the middle ages the multi-valency of the dragon is reduced to one primary symbolic valency, that of evil and significantly, the evil of paganism, the dragon never loses completely its ancient associations and they help to colour its function within the narrative. The symbolic use of the dragon in vernacular saints' lives is generally consistent, although allowing for different didactic emphases. However, the two legends on which this thesis concentrates are those of St George from Caxton's Golden Legend and St Margaret from the Katherine Group. Each reveals tensions within the text when the dragon's role departs from the familiar hagiographic topos. Firstly, the role of the hagiographic dragon is identified by a comparison with that of the dragon in romance. Allowing for cross-fertilization, this thesis focuses on the significance of the hero's dragon-fight and the saint's dragon encounter to differentiate between the ethos of the romance and hagiographic genres respectively. Tensions are created in the hagiographic text when the romance topos of the dragon-fight is used in conjunction with the hagiographic dragon encounter, as in the legend of St George. Finally, in the legend of St Margaret, the dragon's appearance unbalances and unsettles the perspective of the narrative when its role and function are deployed in the promulgation of virginity.
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Scheidhauer, Marie-Louise. "La fonction symbolique a l'ecole maternelle. Place et role du langage." Université Marc Bloch (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR20037.
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Les instructions officielles de 1977, destinees a regir le systeme educatif de l'ecole maternelle, font une large part a la theorie piagetienne du developpement de l'intelligence et plus precisement a la notion de fonction symbolique. Le rapport de celle-ci avec le langage apparait dans le discours pedagogiques d'abord, dans les congres de l'ecole maternelle ensuite, comme problematique. Notre hypothese de travail consistera a dire que c'est le langage qui fonde la fonction symbolique. L'etude de la notion dans les differentes theories qui s'y interessent revelent deux con ceptions differentes de la fonction : celle d'une fonction de representation du reel et celle d'une fonction d'inscription du sujet dans la parole et partant dans les oeuvres de creation. Dans la seconde conception le concept de representation cede le pas a celui de signification. L'analyse de nombreuses activites signifiantes a l'ecole maternelle, activites d'interpretation et de creation met en evidence des caracteristiques communes. L'enfant interprete et cree dans la mesure ou le langage evoque, ou son jeu est possible. Des lors la fonction symbolique apparait comme un echange interhumain de valeurs, comme reconnaissance de l'autre, comme enonciations grace au jeu creatif des entites linguistiques. Meme en tant que fonction intersubjective, la fonction symbolique reste, comme le montre la quatrieme partie de la these, une fonction de connaissance<br>The influence of piaget's theory of the development of intelligence and more especially, of the notion of symbolic function, can clearly be seen in the official instructions of 1977 relating to kindergarten (ecole maternelle) education. The link between symbolic function and language first appears as a topic of discussion in teaching circles and then at kindergarten congresses. Our working hypothesis will be to maintain that language is the basis of symbolic function. Two different conceptions f of this function comme to light in the various theories put forward on this subject. The first one presents this function as a reality representation function and the other presents this function as possibility for the subject to signify himself thanks tothe infinite possibilities of linguistic combinations and from there in creations. In the second conception, the idea of signifying is more important than that of representing. Common caracteristics can be seen in the analysis of various signifying activities in kindergarten such as those of interpretation and creation. A child understands and creates only in language is meaningful and play possible. In this situation, symbolic function becomes an exchange of values between human beings, a recognition of the
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O'Brien, Michael S. "San Carlo alle Quattro Fontane a study in three dimensions." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21667.
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Mainieri, Miguel Schumacher. "Sincronização em neurônios de Hindmarsh-Rose." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7479.
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A sincronização, como comportamento cooperativo universal e mecanismo fundamental na natureza, tem sido extensivamente estudada em conexão com inúmeros fenômenos em física, química e biologia [1, 2]. Em particular, a sincronização da atividade neural tem sido observada em diferentes espécies e sob condições fisiológicas distintas [3, 4]. Neste trabalho, estudamos sincronização em neurônios de Hindmarsh-Rose (HR), um modelo de potencial de membrana que representa com fidelidade o comportamento de disparos encontrado em neurônios reais [9, 10]. Iniciamos considerando o caso de um neurônio HR isolado e suas propriedades dinâmicas de geração de pulsos. Em seguida, analisamos o acoplamento entre neurônios em um sistema de dois neurônios, e em redes unidimensionais (HR-1D) e bidimensionais (HR-2D). Nessas arquiteturas, a sincronização dos elementos da rede da origem a um comportamento ordenado, coerente, que está associado não somente à produção de informação biológica [5, 6], mas também às potenciais aplicações em comunicação [7] e identificação de sistemas [8].
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ROUSSEAU, LUDOVIC. "Rose : systeme reparti a objets securise." Paris, CNAM, 1997. http://www.theses.fr/1997CNAM0299.
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Cette these presente les principes de gestion de la securite d'un systeme d'exploitation distribue a objets suivant deux axes : distribution des traitements, du stockage et de la gestion des donnees en general et distribution de la responsabilite de gestion des droits basee sur la cooperation entre plusieurs responsables securite. Les objets securises sont appeles des entites. Pour realiser le controle des droits, rose utilise des capacites qui ne sont utilisables que par une seule entite (capacites nominatives) et qui ne sont pas falsifiable (capacites signees). Les protocoles lies a chaque etape de la vie d'une capacite (creation, propagation, utilisation et revocation) sont etudies. La securite repose partiellement sur la synchronisation des horloges des differents sites du systeme reparti. Nous etudions plusieurs possibilites de limitation temporelle des droits (date donnee, intervalle et execution unique pendant un intervalle). Les ecarts de synchronisation des horloges sont pris en compte par ces contraintes temporelles et les possibilites d'attaques sont analysees en consequence. Nous proposons une solution optimisee en terme de performance et d'espace memoire occupe au probleme de distribution des cles publiques. Ces cles sont employees pour l'authentification des entites et la signature des capacites. Elles doivent etre accessibles a l'ensemble des entites du systeme. Chaque etape de la vie des cles publiques (changement de cle, generation, distribution, stockage, invalidation et utilisation) est analysee. Nous presentons les principes d'implantation et la modelisation du systeme rose realisee avec l'outil asa+. La modelisation statique permet de rendre compte de l'organisation sous forme de modules et de flots d'informations. Le modele dynamique decrit le comportement des modules et des messages echanges. Enfin, nous presentons quelques simulations du modele.
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Bradley, Lucy, and MaryLou Coffman. "Rose Care in the Low Desert." College of Agriculture and Life Sciences, University of Arizona (Tucson, AZ), 2003. http://hdl.handle.net/10150/144749.
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Perez, José. "Le symbolisme de José Antonio Ramos Sucre." Paris 8, 1996. http://www.theses.fr/1996PA081075.
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Le symbolisme de jose antonio ramos sucre est plutot le symbolisme traditionnel qui exprime des idees sublimes et philosophiques. Les symboles majeurs que l'on trouve dans ses poemes en prose sont-selon nous-la fuite et la solitude, themes a travers lesquels sont explorees d'autres figures de sa thematique. Chaque figure symbolique est constituee d'une tension et d'une detente pendant lesquelles se tient l'attente spirituelle du poete. Cette soif d'infini donne une teleologie a l'oeuvre, un but a atteindre. Persuade du pouvoir redempteur de l'oeuvre ecrite, ramos sucre fera de sa poesie une longue meditation sur l'etre ideal, poetisant surtout son aspect impossible, effrayant ou chimerique, comme pour laisser a l'imagination le soin de restituer sa qualite intrinseque. Si l'on veut atteindre un etre parfait, les moyens pour y parvenir seront eux aussi, et dans la mesure du possible, parfaits. C'est pourquoi la poesie de ramos sucre est tributaire de la notion d'eloquence, concept defendu par notre poete et selon lequel l'oeuvre litteraire doit obeir a une logique et a une proportion. Ainsi, la thematique de ramos sucre met en place une esthetique et une ethique. Au plan esthetique fonde sur l'eloquence, se joint le plan ethique concentre autour de l'idee de salut. Pas de salut sans eloquence-aurait dit le poete<br>Jose antonio ramos sucre's symbolism is more the traditional symbolism that expresses philosophical ideas and those of the sublime. The major symbols one finds in his poems in prose are, to our mind, escape and solitude, themes through wich other figures of his thematique are explored. Each symbolic figure is composed of an element of tension and an element of laxity where the spiritual expectation of the poet resides. This thirst for the infinite gives a teleology to the work, a goal to attain. Convinced of the redemption power of the written work, ramos sucre makes his poetry a long meditation on the ideal being, discoursing in poetic terms particularly on the aspect of the impossible, thus the dreadful or the chimeric confering on the imagination the task of reconstituating its intrinsic quality. If one desires to attain the perfect being, the means employed to this end must also be, in as much as it is possible, perfect. It is for this reason that ramos sucre's poetry yields to the notion of eloquence, a concept the poet preconizes. For ramos sucre a literary work must repond to a logic and a proportion. His thematique imposes both an esthetic and an ethic. The esthetique domain founded on eloquence joints with that of the ethic, wich is centered on the idea of salvation. There is no salvation without eloquence, the poet would have said
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PIAZZA, FRANCOIS. "Anarchisme et symbolisme chez gian pietro lucini." Paris 4, 1989. http://www.theses.fr/1989PA040113.
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Le present travail porte sur l'oeuvre de gian pietro lucini, poete milanais pratiquement inconnu du grand public, meme italien, jusqu'aux annees 1970, et de ce fait classe dans les anthologies parmi les precurseurs du symbolisme en tant qu'introducteur du vers libre en italie. Le but de cette etude est de montrer comment l'oeuvre de lucini, qui embrasse pratiquement tous les genres litteraires, mais surtout la poetique, la critique et la poesie proprement dite, sans exclure le roman ou le theatre, etablit une dialectique permanente entre sa volonte libertaire et ses tendances symbolistes. Pour cela, on etudie sous la forme d'etudes plutot que de chapitres, les oeuvres qui relevent de la periode naturaliste des debuts et qui evoluent ensuite en oeuvres revolutionnaires ; de la periode symboliste et la periode futuriste, ou les ferments revolutionnaires sont transposes sur l'oeuvre d'art alors qu'ils etaient censes concerner la societe ; enfin de la periode "alexandrine" ou s'affirme un processus d'involution. La question sera de savoir si, anarchiste et symboliste a la fois, lucini n'etait pas aussi l'aristocrate distant dont l'oeuvre critique eclipse de loin l'oeuvre poetique. Poetique.
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Nefontaine, Luc. "Symboles et symbolisme dans la franc-maçonnnerie." Bruxelles : [Paris] : Ed. de l'Université de Bruxelles ; [diff. Vigot], 1994. http://catalogue.bnf.fr/ark:/12148/cb35740031c.
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Wellman, Elizabeth Joanne. "Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548.
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Serié, Pierre. "La peinture d'histoire en France (1867-1900)." Paris 4, 2008. http://www.theses.fr/2008PA040229.
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En 1867 la peinture d’histoire peut sembler sur le déclin, mais, à la vérité, elle n’aura probablement jamais été, au XIXe siècle tout du moins, si dynamique qu’entre cette date et 1900. Théoriquement d’abord, ce genre assailli par la modernité ne cesse de se redéfinir puisqu’il s’est déjà ouvert au paysan (1830-1860) et qu’il englobe bientôt l’ouvrier (1880-1890). Surtout, l’émergence progressive de la notion de décoration le mine dans ses fondements en même temps qu’elle tend à lui disputer sa préséance : un combat est livré au terme duquel le tableau d’histoire, recentré sur le contenu (le sujet, l’histoire) voit lui échapper sa raison d’être formelle – le style, la plastique – échue à la décoration. À l’heure du retour de la peinture sur elle-même, sur ce qui la constitue, voilà qui revient à définitivement déclasser le tableau d’histoire dans la création contemporaine. La richesse de ces questionnements sur les prémices du grand genre se traduit pourtant aussi, pratiquement, au niveau des formes – ce que Matisse aurait appelé le « sens majeur » –, par une prolifération de tendances stylistiques contradictoires : entre 1860 et 1880, au classicisme raphaélien de Bouguereau et de Cabanel répond l’anticlassicisme de Moreau et de ses fils spirituels coloristes ou dessinateurs ; tandis que, de 1875 à 1900, le réalisme de metteur en scène développé par Gérôme, Laurens puis Rochegrosse et Tattegrain est systématiquement désavoué par une tendance plus élégiaque (Henner), littéraire (Fantin-Latour), voire murale (Martin). Les ultimes contributeurs à la peinture d’histoire semblent avoir déjà l’âme de décorateurs – c’est effectivement comme tel que Martin passera à la postérité –, mais, en définitive, ces décorateurs du début du XXe siècle pourraient bien être compris comme les héritiers directs de ceux que, quelques décennies plus tôt, on qualifiait de « peintres d’histoire » : dans les deux cas on aspire à la synthèse et l’on perpétue la tradition fresquiste italienne. Le « grand goût » aura survécu à sa cause<br>In 1867, history painting may seem to be on the decline but, actually, it may have never been, in the XIXth century at the very least, so dynamic than it was between this date and 1900. In theory first, this genre assailed by modernity is constantly redefining itself since it has already opened to the peasant (1830-1860) and soon includes the labour (1880-1890). Above all , the progressive emergence of the notion of decoration saps its foundations as well as it aims at robbing it of its precedence : at the end of the battle which is fought, history painting, reoriented towards its content (the topic, the story) experiences the loss of its formal raison d’être –style, plastic- fallen to decoration. At the time of the return of painting towards itself, towards its constituents, this comes down to definitely downgrading history painting in contemporary creation. The richness of these questionings about the beginning of the great genre is also conveyed, in practice, at forms level - what Matisse would have called the “sens majeur”, by a proliferation of conflicting stylistic trends : between 1860 and 1880, Bouguereau and Cabanel’s Raphaelesque classicism responds to the anti-classicism of Moreau and his spiritual sons, colourists or drawers ; whilst, from 1875 to 1900, the director-like realism developed by Gérôme, Laurens then by Rochegrosse and Tattegrain is systematically disavowed by a more elegiac (Henner), literary (Fantin-Latour) indeed mural trend (Martin). The final contributors to history painting already seem to have decorator souls - and it is as such that Martin will actually go down to posterity, but finally, these decorators of the early part of the XXth century could definitely be seen as the direct heirs of those who, a few decades earlier, were called “history painters” : in both cases one aspires to a synthesis and the Italian tradition of fresco painters is perpetuated. The “grand goût” will have survived its cause
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Koukane, Fouad. "Conception d'un outil de mesure automatique de COSMIC-FFP pour Rational Rose RealTime ([mu][indice inférieur c]ROSE)." Mémoire, Université de Sherbrooke, 2001. http://savoirs.usherbrooke.ca/handle/11143/4516.
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Depuis la fin des années 70, un certain nombre de mesures de taille du logiciel ont été proposées, sans toutefois être suffisamment normalisées pour être utilisées de façons fiables et cohérentes. De plus, pour les méthodes de mesure de la taille fonctionnelle des logiciels 1, l'industrie reproche principalement les coûts et les délais d'obtention d'une mesure. La formation du personnel"expert" est aussi une source d'investissement importante qui a fait reculer plus d'une entreprise. L'automatisation semble donc une solution. L'automatisation de la mesure fonctionnelle de la taille a été tentée dans le passé, mais avec peu de succès. Les raisons sont les suivantes : (1) il est relativement difficile d'automatiser une méthode de mesure fonctionnelle dont les règles n'ont pas été adaptées aux principes du génie logiciel ; (2) la pratique actuelle en génie logiciel indique une faiblesse de la documentation du logiciel, si ce n'est l'absence de documentation. La mesure fonctionnelle de la taille est cependant nécessaire, car cette mesure est un maillon essentiel pour : (1) construire des modèles de productivité ; (2) aider à mieux estimer le coût des logiciels avant leur construction ; (3) évaluer le port-folio des logiciels des entreprises. Dans les dernières années, la création d'une mesure de taille fonctionnelle du logiciel plus conforme aux principes du génie logiciel devrait faciliter son automatisation. Il s'agit de COSMIC-FFP. Cette nouvelle méthode ne peut résoudre les problèmes relatifs à la qualité de la documentation, c'est pourquoi notre travail s'en tient à la mesure des logiciels dont la documentation est disponible. L'objectif principal de notre travail est de concevoir un outil de comptage automatique pour la méthode de mesure de la taille fonctionnelle COSMIC-FFP à partir des spécifications du logiciel écrites avec l'outil Rational Rose RealTime. 1 Les principales mesures fonctionnelles connues sont Function Point Analysis (FPA), Mark II (surtout en Europe), Feature Points (un sous-ensemble de FPA), 3D Function Points (un complément à FPA) et COSMIC-FFP.
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Rose, Martin [Verfasser]. "Die kartellrechtliche Zugangserzwingung zu Zahlungsverkehrsnetzen / Martin Rose." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2014. http://d-nb.info/1108809405/34.
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Moir, P. L. "Ultimate things, Peter Straub's Blue rose stories." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/MQ45335.pdf.
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Schmitt, Katharina Rose Luise [Verfasser]. "Hypothermie zur Organprotektion / Katharina Rose-Luise Schmitt." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2012. http://d-nb.info/1030487413/34.
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Карпушина, Д. Й. "Проект брендбуку для тату-салону "Rose Tattoo"". Master's thesis, Сумський державний університет, 2018. http://essuir.sumdu.edu.ua/handle/123456789/70576.
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Houang, Jessica. "Photodynamic Therapy of Onychomycosis with Rose Bengal." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20349.
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Photodynamic therapy (PDT) is emerging as a treatment for onychomycosis; a fungal infection of the nail often caused by Trichophyton rubrum. The antimicrobial action of PDT occurs when a photosensitive molecule absorbs light irradiation and produces reactive oxygen species (ROS). Rose bengal (RB) is a photosensitive dye that has demonstrated antifungal capacity in vitro, warranting further investigation and development of RB-PDT into a clinically feasible treatment for onychomycosis. This thesis aims to establish a clinical treatment for onychomycosis using PDT with RB and green light, and to understand the mechanisms that affect the tolerance to this therapy. Low dosage RB-PDT to eradicate T. rubrum spores was carried out using 140 µM RB and green light (532 nm) at fluences of 25 – 228 J/cm2. The production of ROS by xanthomegnin, an endogenous pigment of T. rubrum, was also investigated. A screen of the entire non-essential gene deletion library of Saccharomyces cerevisiae was completed to ascertain the mechanisms influencing altered tolerance to RB-PDT. Finally, a pilot patient study was carried out to treat onychomycosis in six patients (seven toenails) using 140 µM RB and ~763 J/cm2 green light irradiation. A low PDT dosage of 25 J/cm2 was found to eradicate T. rubrum spores in vitro, with xanthomegnin also shown to produce singlet oxygen photochemically. Sensitivity to RB-PDT was associated with disrupted ergosterol biosynthesis and vacuolar acidification leading to compromised membrane integrity and Ca2+ homeostasis. Resistance was related to purine/S-adenosyl-L-methionine biosynthesis, leading to potential accumulation of ROS scavengers and reduced RB uptake. Complete cure (mycological and clinical) of onychomycosis was achieved in all six patients within three to five PDT sessions in the pilot study. No pain or recurrence of infection was reported. RB-PDT has been demonstrated, for the first time, to be a safe and effective treatment for onychomycosis caused by T. rubrum. Cellular processes affecting the tolerance to RB-PDT have also been revealed in the genetic screen of S. cerevisiae. Future work focusing on the improved delivery of RB and light through the nail plate will enhance the clinical efficacy of this treatment.
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Rethwisch, M. D., and C. Sumner. "Update on Fuller's Rose Beetle in Arizona." College of Agriculture, University of Arizona (Tucson, AZ), 1988. http://hdl.handle.net/10150/215700.
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Initial studies of Fuller rose beetle (FRB) biology have found some adult emergence in late June and early July. No adults woe found in foliage in May or early June, nor was activity noted in August and early September. FRB were not found in early October, but they began expected major emergence in mid-October. Several FRB collected did not have fused wings, atypical for this species. This finding suggests flight ability in FRB, currently unknown to occur.