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Relevant bibliographies by topics / Tremblay

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Academic literature on the topic 'Tremblay'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Tremblay"

1

Godin, Louis-Daniel, and Michel Nareau. "LISE TREMBLAY." Voix et Images 45, no. 3 (2020): 7. http://dx.doi.org/10.7202/1073024ar.

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Lavoie, Pierre. "Michel Tremblay, dramaturge-démiurge." Theatre Research International 17, no. 3 (1992): 180–89. http://dx.doi.org/10.1017/s0307883300016539.

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During the twenty years separating Gratien Gélinas's Tit-Coq in 1948, a play considered a foundation piece of Québécois (as opposed to French-Canadian) dramaturgy, and the 1968 creation of Michel Tremblay's Les Belles-Sœurs which opens the era of ‘new’ Québécois dramaturgy, Quebec society underwent a radical change. It was no longer traditional, religious and rural, but had become fully urbanized.A quarter of a century later, Michel Tremblay has published over twenty books—novels, plays and screenplays—composing an original body of work which reflects, sometimes almost clinically and through the use of joual (the idiomatic French spoken in the working-class district of East Montreal) the local Québécois reality. At the same time, it has a universal value: to a typically Montreal universe, Tremblay's creation integrates dramaturgical influences ranging from Greek tragedy to Tennessee Williams. The result is a unique and strong combination of a musical language, with powerful monologues and vivid dialogues, and of innovative dramatic structures reflecting (in a lucid and ironic manner) a society in quest of its identity, torn between traditional values centred on the family unit, and the liberating, dream world of the theatre.

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Zacharow, Sebastian. "Méprisé, mais pas méprisable – échec de la rhétorique de dissuasion dans Demain matin, Montréal m’attend de Michel Tremblay." Studia Litteraria 15, no. 4 (2020): 301–8. http://dx.doi.org/10.4467/20843933st.20.025.12546.

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Despised but not Despicable – Failure of the Rhetoric of Dissuasion in Demain matin, Montréal m’attend by Michel Tremblay In Demain matin, Montréal m’attend, a comedy by Michel Tremblay written in the era of a Quiet Revolution, contempt takes on an argumentative value. Lola Lee, a singer and artist in La Main –an artistic neighborhood in Montreal. Lola’s younger sister –Louise –is jealous of the popularity gained by her older sibling. Lola Lee, in the attempt to discourage Louise from the idea of following in her footsteps travels with her through the most infamous artistic venues. During this trip Louise meets artists with questionable morals. The aim of the article is firstly to show how this journey, instead of generating contempt, becomes the core of searching for your own artistic identity. Secondly, the article explains how Tremblay’s art, using metaphors in the style of Almodóvar, represent the national dramaturgy of Quebec, in which the hero, which is an allegory of the whole society, undergoes an evolution that allows him to appreciate his own identity instead of despising it.

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Antosh, Ruth. "Interview avec Michel Tremblay." Quebec Studies 7 (October 1988): 145–49. http://dx.doi.org/10.3828/qs.7.6gx7x32q386m2862.

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Godin, Louis-Daniel, and Michel Nareau. "ENTRETIEN AVEC LISE TREMBLAY." Voix et Images 45, no. 3 (2020): 13. http://dx.doi.org/10.7202/1073025ar.

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Charland, Thara. "BIBLIOGRAPHIE DE LISE TREMBLAY." Voix et Images 45, no. 3 (2020): 109. http://dx.doi.org/10.7202/1073032ar.

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Findlay, Bill. "Translating Tremblay into Scots." Theatre Research International 17, no. 2 (1992): 138–45. http://dx.doi.org/10.1017/s0307883300016242.

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Odd though it may seem, the most popular contemporary playwright in Scotland over the past few years—judged in terms of frequency of productions—has not been a Scot but a Quebecer. In the four years from 1989 to 1992 there will have been four Scottish productions of Scots translations of plays by Michel Tremblay, as well as a revival of one of these shows. Glasgow's Tron Theatre staged The Guid Sisters (Les Belles-Sœurs) in 1989, revived it in 1990, and mounted a double bill of The Real Wurld? (Le vrai monde!) and Hosanna (Hosanna) in 1991; and Edinburgh's Traverse Theatre is staging The House Among the Stars (La Maison suspendue) in the autumn of 1992.

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Chen, Mu, Vasanti S. Malik, Frank B. Hu, and An Pan. "Reply to A Tremblay." American Journal of Clinical Nutrition 97, no. 2 (February 1, 2013): 448. http://dx.doi.org/10.3945/ajcn.112.053678.

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Bergeron, Bertrand. "La correspondance Barbeau-Tremblay." Rabaska: Revue d'ethnologie de l'Amérique française 13 (2015): 164. http://dx.doi.org/10.7202/1033759ar.

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Bergeron, Serge. "Michel Tremblay: Bio-bibliographie." Nouvelles Études Francophones 26, no. 2 (2011): 111–24. http://dx.doi.org/10.1353/nef.2011.0049.

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Dissertations / Theses on the topic "Tremblay"

1

Arino, Marc. "L'Apocalypse selon Michel Tremblay /." Pessac : Université Michel-de-Montaigne, Bordeaux 3, LAPRIL, 2007. http://catalogue.bnf.fr/ark:/12148/cb41024693g.

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Samzun, Marie-Béatrice. "Michel Tremblay ou l'oeuvre d'art libératrice." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30024.

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Misereuse, l'enfance de tremblay dut, de surcroit, subir la politique repressive de duplessis, l'ultra-conservateur. Toutefois, de "la grande noirceur" quotidienne, s'echappaient des minutes d'intense bonheur, volees aux sources de l'art. C'est que la famille tremblay vivait entre musique et theatre, entre litterature et cinematographe. Au sortir de l'adolescence, tremblay se souviendra de ces influences antinomiques - duplessiste et artistique - pour ecrire une oeuvre engagee, refletant la triste realite politico-socio-economique des annees ecoulees mais visant, egalement, a promouvoir, chez son lectorat et chez son auditoire, une revolte d'ou devait surgir la liberation. Par l'intermediaire d'une lecture psychanalytique, cette etude prend en compte l'ecriture torturee de tremblay, symbole patent de l'alienation quebecoise et recense, dans le corpus tremblayen, les differentes manifestations de cette alienation generee par la politique duplessiste. Elle etudie egalement les premiers symptomes de rebellion qui sont majoritairement voues a l'echec. Seul, l'art semble porteur d'espoir et apparait rapidement comme l'ultime instrument de liberation. . . Aussi l'art, initialement liberateur pour l'enfant que fut tremblay, confronte au marasme du monde ambiant, devient-il, par transposition, liberateur pour les personnages tremblayens embourbes dans leur quotidien, avant de se commuer, par reference, - du moins tremblay l'espere-t-il - en salut definitif pour la nation. En dehors de l'appareil critique communement employe, les annexes de cette these proposent une documentation sur l'univers geographique tremblayen, la composition des romans, la progression chronologique de l'ecriture et les premieres dramatiques. Elles offrent egalement un recensement des oeuvres referentielles, des metteurs en scene, des realisateurs, des acteurs et des auteurs ayant oeuvre pour tremblay. Enfin, quarante-sept resumes couvrent l'ensemble de la production tremblayenne (1959-1997)
Tremblay's childhood was already miserable, but he also had to put up with the repressive policies of the ultra-conservative duplessis. This daily "great darkness" was nevertheless punctuated by minutes of intense happiness, thanks to artistic inspiration. The tremblay family lived between music and drama, between literature and film-making. As he approached adulthood, tremblay remembered these opposing influences - conservativism vs. Art - in his nonconformist literary work, that reflected the morose politico-socio-economic reality of those years, but which also was aimed at provoking a revolt in his readers and listeners, that was intended to lead to liberation. Through a psycho-analytical analysis, this study reviews tremblay's tortured prose, a clear example of quebec alienation, and identifies in his work the different expressions of this alienation that was generated by duplessis politique. It also studies the first signs of rebellion that were, for the most part, doomed to failure. Only art seems to convey hope and comes out early on as the last vector of liberation. In this way, art, which was initially liberating for tremblay, the child confronted with the stagnant world that surrounded hill becomes liberating by transposition for his characters, also stuck in their everyday morass. It is then supposed - at least for tremblay - to become, through reference, a source of salvation for the nation. Apart from the commonly used critical tools, the appendices of this thesis contain information on tremblay's geographic world, details on how the novels were written, the chronology of writing and the premieres of the plays. Also listed are the reference works, the film-makers, directors and authors who worked for tremblay. Finally, forty-seven summaries cover all tremblay's works (1959-1997)

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Arino, Marc. "Figures d'apocalypses dans l'oeuvre de Michel Tremblay : résurgence et actualisation de la veine apocalyptique dans l'oeuvre romanesque de Michel Tremblay." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30024.

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Ce travail cherche à montrer de quelle manière Michel Tremblay transforme le mythe biblique de l'Apocalypse en un mythe littéraire personnel selon trois modalités. La première de ces modalités relève du théologique et correspond à la transposition / dégradation des figures élues du peuple judéo-chrétien et de l'Incarnation salvatrice aux dimensions d'une famille québécoise contemporaine et de ses figures martyres ou messianiques. La seconde modalité relève de l'historique et correspond à la mise en œuvre d'une dialectique entre la fin d'un temps et l'émergence d'un autre, conséquence d'une crise survenue dans l'histoire. L'exploitation de la veine apocalyptique renvoie ainsi chez Michel Tremblay à la rupture épistémologique entre le régime duplessiste et la Révolution tranquille. La troisième modalité relève enfin de la mise en abyme de la symbolique apocalyptique de l'œuvre entière, les productions des personnages-artistes tremblayens pouvant être assimilées à de multiples apocalypses qui doublent l'œuvre-mère
This study shows how Michel Tremblay transforms the biblical myth of the Apocalypse into a threefold personal myth. The first aspect of this myth is theological and rests on the debased transposition of the redeeming Incarnation and of Judeo-Christian Elect figures in a contemporary quebecois family and its messianic or martyr characters. The second aspect of the myth is historical and establishes a dialectical relationship between the end of an era and the emergence of another, due to a historical upheaval. Tremblay adapts the apocalyptic tradition to translate the epistemological break between the Duplessis era and the Quiet Revolution. Finally, the third aspect of the myth rests on the embedding of apocalyptic symbolism running through Tremblay's writing, as characters who happen to be artists create what can be considered as manifold apocalypses reflecting the works at large

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Gouin, Lorraine. "Le personnage masculin dans l'oeuvre de Michel Tremblay." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40127.

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This thesis is a study of the male character in the works of Michel Tremblay, particularly as depicted in his novels and original plays, excluding translated works, adaptations, musical comedies and movies. Beginning with the play entitled Les Belles-Soeurs (1968) and up to Marcel poursuivi par les chiens (1992), this thesis presents a threefold analysis of the males in Tremblay's dramatic and romanesque universe. The first part of this thesis focuses on Tremblay's methods of characterization; this provides us with the description of the physical and psychological attributes of the character. This first part also features a chapter describing the physical environment and socio-historical context in which the male character evolves. The second part of this thesis and by far the most important, describes the masculine archetypes in Tremblay's works. Since the male archetypes have so far been set aside in favor of extensive study of the female archetypes, our research in the former seems most appropriate. Finally, the third part presents the symbolic representation of the characters: Is the male, according to Tremblay, the image of a powerless and tortured Quebec, as it has often been claimed? In conclusion, this thesis attempts to show that the males, in Tremblay's works, play an important role despite appearances and statements to the contrary made by the author in the course of many interviews.

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Beaupré, Sylvie. "Spécularité et autoréférentialité dans l'oeuvre de Michel Tremblay." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ55450.pdf.

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Chatard, Virginie. "Le monologue dans le théâtre de Michel Tremblay." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30048.

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La premiere partie de l'etude s'intitule : qu'est-ce qu'un monologue ? cette question en apparence naive renvoie a toute la problematique du sujet : a la fois forme et genre, cette manifestation du langage dramatique ne beneficie pas, comme son pendant le dialogue, d'une seule definition simple et precise mais de plusieurs, variant selon les perspectives historiques, litteraires et linguistiques qui l'approchent. Un survol historique de la forme, tant dans le theatre occidental que dans les productions culturelles quebecoises, s'imposait alors afin de mieux extraire une definition permettant d'aborder plus precisement le theatre tremblayen. Et puisque les problemes de definition du monologue ont trait au statut du destinataire, les pieces de tremblay sont etudiees, dans la deuxieme partie, en fonction des personnages presents sur scene, c'est-a-dire qu'elles sont subdivisees entre pieces monologiques, pieces a deux personnages et enfin pieces a plusieurs personnages. Une telle decoupe etait obligatoire puisque presque toutes les pieces de michel tremblay contiennent ou ne sont que des monologues. Apparait alors la fonction fondamentale du monologue, qui n'est plus une simple forme mais participe de la structure meme de la piece. Dans la troisieme et derniere partie, les variations formelles du monologue sont analysees. Dans le cas de tremblay, elles deviennent omnipresentes et quasi systematiques en integrant dans le discours solitaire des pratiques monologiques telles que la chanson, la conversation telephonique. . . Etc. Le monologue devient donc inherent a tout le discours tremblayen et une etude du monologue dans les romans de l'auteur permet de se rendre compte de l'importance de la forme dans l'oeuvre, qui revele sa coherence grace a ce mode d'expression. Le monologue, expression proteiforme, et participant a la fois de l'interiorite et de l'exteriorite, devient donc la justification de toute l'oeuvre de michel tremblay qui fait indifferemment evoluer les memes personnages a travers le theatre et dans les romans
The first part of this study is entitled : what is a monologue ? this seemingly naive question refers to the core of the subject : both as a form and genre, but unlike its conterpart dialogue, this kind of dramatic language doesn't have a single accurate and simple definition. It has several which vary according to historical, literary and linguistic perspectives. A historical survey of the form within western drama and quebecoise cultural productions was a necessary basis for the development of a definition that would serve as an enlightening introduction to our study of tremblay's drama. And, since the difficulties ancountered in defining monologues are linked to the addressee's status, in the second part of the study tremblay's plays are studied according to the nombre of characters on stage ; a distinction is made between plays with one, two or more characters on stage. Such a division is necessary since almost all of michel tremblay's plays contain monologues or are mere monologues. The fondamental fonction of the monologue is thus put into relief : it is no longer a simple form but become a structural pattern. In the third and last part the variations of the form are analysed. In tremblay's case, they are omnipresent and almost systematic ; practices such as songs and telefone conversations are introduced into the field of solitary discourse. Monologues thus become inherent in tremblay's discourse and the study of the form in the writer's novels highlights its importance in the entire work which owes its coherence to this mode of expression. As a protean form, partaking of both inner and outer worlds, monologues therefore become the justification for all the works of michel tremblay who develops the same characters indiscriminately through drama and fiction

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El, Hilali Nabil. "Théâtre marocain et québécois : Tayeb Saddiki / Michel Tremblay." Nice, 2001. http://www.theses.fr/2001NICE2026.

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Cette recherche se veut initiatrice d'un nouvel axe de recherche englobant le Maroc et le Québec à travers le théâtre. Le point de départ réside dans le fait que le Québec comme le Maroc s'est trouvé à un moment donné de son histoire en proie à des interrogations portant sur la question identitaire. La tradition théâtrale cristallisera cette question mais après long et difficile cheminement. Elle évoluera à partir d'une naissance conflictuelle, s'affirmera par le biais d'une "anthropophagie culturelle" et s'établira à la suite d'une prise de conscience quant à sa spécificité. Les linéaments d'une différence avec le théâtre issu du Moyen-Orient et de l'Occident pour le Maroc et celui originaire de France et du Canada anglophone pour le Québec furent ainsi délimités. Michel Tremblay et Tayeb Saddiki, auteurs démiurges définissent à eux deux les strates de la tradition théâtrale au sein de leurs deux aires géographiques respectives. Ils délimitent la ligne de crête de leur époque en traçant l'horizon d'attente qui lui était spécifique par deux créations majeures : Les Belles soeurs et Diwan Sidi Abderrahman Al-Majdoub datant de la fin des années 60 et début 70. L'écriture en parler local : la "Darrija" et le "Joual" sera le premier pas établi vers la recherche d'un théâtre authentique. La recherche dans le patrimoine historique local pour Tayeb Saddiki et le questionnement du milieu ouvrier québécois pour Michel Tremblay en sera l'élément second. L'analyse comparée du corpus prenant appui sur la sémiotique peircienne dans sa dimension tripartite et le système René Girard, aboutira à l'établissement de l'invariant dans la thématique du sacré. La recherche s'attachera à démontrer dans le corpus l'articulation autour du sacré et sa corrélatin avec d'un côté la modernisation de la tradition au Maroc et de l'autre l'anticléricalisme au Québec.

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Ellison, James A. "Michel Tremblay in five places : production and reception of Michel Tremblay's theatrical works in Quebec Canadian and international performance." Thesis, University of London, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549570.

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Morin, Claude. "L'émergence de l'individualité dans les romans de Michel Tremblay." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60014.

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The subject matter of this thesis is concerned with a series of novels written by Michel Tremblay referred to as "Les Chroniques du Plateau Mont-Royal"; and more specifically, it is limited to the first four in the series. In these, Tremblay deals with the phenomena of human nature as it unfolds between birth and death. The gradual emergence of the wholeness and uniqueness of the individual during this process is a major theme developed sequentially in these four novels. This has been clearly demonstrated and critically evaluated in this thesis both somatically by using Ovid's Theory of Metamorphosis and psychologically by using Jung's Theory of Individuation. It has been concluded as a result of such analyses; firstly, that the unfolding process of human nature is a central theme, and secondly, these four novels are importantly interrelated in the development of this theme.

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Fonda, Nick. "The fantastic worlds of Alistair Macleod and Michel Tremblay." Mémoire, Université de Sherbrooke, 1992. http://hdl.handle.net/11143/10913.

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Est-il possible de comparer des œuvres si différentes que celles d'Alistair MacLeod et de Michel Tremblay? Le mémoire vise à démontrer non seulement la possibilité, mais aussi la pertinence d'une telle comparaison. MacLeod, l'écrivain du Cap Breton, a publié quinze contes. Tremblay, son homologue contemporain québécois, a publié une vingtaine de pièces de théâtre, de contes, quelques scénarios de film, huit romans et un livret d'opéra. Nous allons démontrer qu'en dépit de cette disproportion, deux principaux parallèles peuvent être établis entre leurs œuvres. D'une part les deux auteurs ont créé des mondes littéraires très réalistes dans lesquels se manifeste par ailleurs le fantastique. D'autre part, tous deux expriment, par le biais du fantastique, leur préoccupation pour la survie de leur peuple respectif. Le premier chapitre est consacré à l'examen critique du fantastique comme genre littéraire. Les théories contemporaines de l'américain Rabkin et du français Todorov retiendront particulièrement notre attention. Selon Rabkin, contrairement au non pertinent et à l'imprévu (les deux genres voisins entre lesquels il le situe), le fantastique naît de l'étonnement éprouvé lorsque les règles implicites présidant à la lecture basculent ou, pour reprendre son expression, sont retournées de 180 degrés. Quant à Todorov, il situe le fantastique entre l'étrange (qui s'explique par les lois naturelles) et le merveilleux (qui suppose l'existence d'un mode surnaturel). Le fantastique constitue ainsi un genre éphémère qui n'existe qu'à la condition que le lecteur soit dans l'incertitude, ayant à choisir entre une explication réelle (l'étrange) ou surnaturelle (le merveilleux). Nous montrerons que malgré leurs différences, ces définitions sont convergentes en égard notamment à l'importance du temps et aux frontières définitions du fantastique. Au chapitre suivant, il sera question des contes d'Alistair MacLeod. Ceux-ci ont été très bien reçus par la critique canadienne et étrangère ainsi que par le public. Ces contes traitent presqu'exclusivement des trois "vies" de I'lle du Cap Breton: labourer la terre, pêcher dans la mer, exploiter le charbon. Les histoires de MacLeod sont peuplées par des gens pauvres mais fiers, forts et courageux. En contact avec la terre, ils sont aussi en contact avec la mort foudroyante, fulgurante engendrée par des métiers dangereux. La première collection de MacLeod, The Lost Sait Gift of Blood (1976), est dominée par le thème du départ. Dans presque chaque histoire, MacLeod présente des hommes qui doivent quitter leur terre ancestrale. Le minerai de charbon est épuisé, la petite ferme familiale n'est plus rentable, le poisson est désormais péché par des navires-usines qui viennent de loin. Dans la deuxième collection. As Birds Bring Forth the Sun (1986), le thème du départ cède la place à celui de la mort. Souvent les histoires sont narrées par des hommes qui ont quitté le Cap Breton, des exilés économiques qui se rappellent avec nostalgie leur pays natal. L'analyse mettra en lumière le fait que, surtout dans sa toute dernière histoire, "Island", la mort de l'individu symbolise celle du Cap Breton.

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Books on the topic "Tremblay"

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Tremblay, Daniel. Daniel Tremblay. Angers: Musées d'Angers, 2008.

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Pécoil, Vincent. John Tremblay. Paris: J-M. Place, 2005.

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Angers (France). Musée des beaux-arts., ed. Daniel Tremblay. Angers: Musées d'Angers, 2008.

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Les Tremblay d'Amérique. Montréal: Point de fuite, 2004.

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Tremblay, Alain. Alain-Marie Tremblay. [Saint-Jérôme, Québec: Centre d'exposition du Vieux Palais, 1991.

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Tremblay, Jean-Guy. Les Tremblay d'Amérique. Montréal: Point de fuite, 2004.

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Alain-Marie Tremblay, céramiste. Saint-Sauveur, Québec: Marcel Broquet, 2010.

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Richard-Max, Tremblay, ed. Richard-Max Tremblay: Portrait. Montréal: Éditions du Passage, 2011.

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Clara Tremblay, chesseldéenne: Récit. Longueuil, QC: Éditions de la Bagnole, 2010.

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Piccione, Marie-Lyne. Michel Tremblay, l'enfant multiple. Bordeaux: Presses universitaires de Bordeaux, 1999.

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Book chapters on the topic "Tremblay"

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Harpham, Bruce. "Isabelle Tremblay." In Project Managers at Work, 41–51. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-2668-1_4.

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Paquin, Eric. "Michel Tremblay (*1942)." In Frauenliebe Männerliebe, 426–30. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_95.

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Bérard, Sylvie. "Holes Within and Bridges Beyond: The Transfictions of Élisabeth Vonarburg and Michel Tremblay." In Studies in Global Science Fiction, 293–309. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15685-5_17.

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Brian, Éric. "Quatre modalités de l’incertitude." In Comment tremble la main invisible, 29–51. Paris: Springer Paris, 2009. http://dx.doi.org/10.1007/978-2-287-99665-8_2.

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Brian, Éric. "Que faire de l’incertitude?" In Comment tremble la main invisible, 3–28. Paris: Springer Paris, 2009. http://dx.doi.org/10.1007/978-2-287-99665-8_1.

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Brian, Éric. "Calcul et durée." In Comment tremble la main invisible, 53–77. Paris: Springer Paris, 2009. http://dx.doi.org/10.1007/978-2-287-99665-8_3.

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Brian, Éric. "Économie ou finance?" In Comment tremble la main invisible, 81–96. Paris: Springer Paris, 2009. http://dx.doi.org/10.1007/978-2-287-99665-8_4.

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Brian, Éric. "Relativité de la probabilité du phénomène." In Comment tremble la main invisible, 97–127. Paris: Springer Paris, 2009. http://dx.doi.org/10.1007/978-2-287-99665-8_5.

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"TREMBLAY, Gail Elizabeth." In International Who's Who in Poetry 2005, 1597. Routledge, 2004. http://dx.doi.org/10.4324/9780203325803-431.

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Peylet, Gérard. "Avertissement." In L’Apocalypse selon Michel Tremblay. Presses Universitaires de Bordeaux, 2007. http://dx.doi.org/10.4000/books.pub.26753.

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Conference papers on the topic "Tremblay"

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Esa, Zainab, Adem Kilicman, Rabha W. Ibrahim, Mat Rofa Ismail, and Sharifah Kartini Said Husain. "Application of modified complex Tremblay operator." In INNOVATIONS THROUGH MATHEMATICAL AND STATISTICAL RESEARCH: Proceedings of the 2nd International Conference on Mathematical Sciences and Statistics (ICMSS2016). Author(s), 2016. http://dx.doi.org/10.1063/1.4952539.

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Freitas, David C. C., Antonio M. N. Lima, and Marcos R. A. Morais. "Determining lead-acid battery DC resistance by tremblay battery model." In 2016 7th International Renewable Energy Congress (IREC). IEEE, 2016. http://dx.doi.org/10.1109/irec.2016.7478944.

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Ji, Shiyu, Tingting Chen, and Fan Wu. "Crowdsourcing with trembles: Incentive mechanisms for mobile phones with uncertain sensing time." In 2015 IEEE International Conference on Signal Processing for Communications (ICC). IEEE, 2015. http://dx.doi.org/10.1109/icc.2015.7248874.

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Zhang, Y., S. Lyden, B. A. Leon de la Barra, and M. E. Haque. "Optimization of Tremblay's battery model parameters for plug-in hybrid electric vehicle applications." In 2017 Australasian Universities Power Engineering Conference (AUPEC). IEEE, 2017. http://dx.doi.org/10.1109/aupec.2017.8282405.

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Yang, Huai-Sheng, Lai-Shing Shiu, Kuo-Feng Huang, Chieh-Teng Chi, and Hao-Chin Chang. "The Application of Vacuum Casting System for Simplifying the Design of Transtibial Sockets." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-10835.

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Prosthetic sockets are one of the most important pieces of equipment for a transtibial amputee to maintain a regular life. Rapid Prototyping is becoming mature and low-cost to fit the CAD system that can conserve the shapes of the stump and socket for reproducing the sockets. If the stump shape can be accurately obtained and the prosthetists’ expertise can be included in a CAD system, then a prosthetic socket will be easily designed by a prosthetist. The stump was scanned to get the shape for the construction and modification of the stump model in a CAD system. However, the stump trembled during the scanning process, the scanner was sensitive about the skin move, so that the scanned data will not exactly represent the real stump shape. This study used a vacuum casting system to gain the stump model instead of creating a positive plaster model in the traditional process of fabricating prosthetic sockets. The stump shape under various vacuum pressures was obtained using a scanning machine and built in a CAD system. The CAD model of the stump will be modified to meet the load-bearing capability of the specific amputee. The use of the vacuum casting method is expected to simplify the design of a socket that will be fabricated by a rapid prototyping machine. Simplifying the designs of transtibial socket can decrease the dependence of human experience and promote the quality and stability of prosthetic sockets.

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Ruxanda (Șuhan), Alina. "Anxiety Tests in Primary School." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/30.

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The purpose of this paper is to present both theoretical and practical aspects related to student’s test anxiety. The role of this paper is to inform the teachers about haw the word” test” should be used in the school context and to highlight the aspects of anxiety and everything that lies behind this rich subject. The main objective underlying this paper is the detailed analysis of what anxiety means and haw it manifests itself among the students. The paper is structured of 3 chapters, two of them presenting the theoretical part and one practical part. In the first part called, Theoretical Approach” the paper aims to analyse the following: anxiety, anxiety theories and contemporary theories and implications of anxiety towards the test. In the second chapter called, Anxiety and stress towards tests” the paper focuses on the following aspects: anxiety about test, anxiety disorders and their effects on personality development, the role of tests in education children of primary school, blocking anxiety and recovering from failure, affectivity and perfectionism. In the third chapter named, the research methodology” I will try to analyse haw children are affected during the assessment and haw high their level of anxiety is when they are faced with these situations. Also, in performing the processing and interpretation of the data from this research, the statistical method was used. Thus, after centralizing the results of the students participating in the study, we reached the following conclusions: during the tests some of students trembled their hands, often students forget what they have learned or have problems in remembering. Many students do not give 100% performance when undergoing tests because they are stressed, became anxious and they block. The teacher has to teach children that the role of testing is to figure out where you went wrong or what needs to be improved. From study the material needed for this paper I was able to discover what each child (even myself) felt and lived when he heard the word, test”.

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Reports on the topic "Tremblay"

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David, J., N. Chabot, C. Marcotte, J. Lajoie, and P J Lesperance. Stratigraphy and sedimentology of the Cabano, Pointe aux Trembles, and Lac Raymond formations, Témiscouata and Rimouski counties, Quebec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1985. http://dx.doi.org/10.4095/120280.

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David, J., and C. Gariepy. Geochemistry of the Lower Silurian Pointe Aux Trembles and Lac Raymond Formations, Central Quebec Appalachians: a Preliminary Report. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1986. http://dx.doi.org/10.4095/120638.

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