Scholarly analysis of rhetorical speeches over the last century has been concentrated on the “traditional” ways of approaching this kind of texts, without paying much attention to their theatrical nature. The old critical analysis paid attention primarily (if not exclusively) to textual issues such as the recognition of grammatical points and the use of such texts as sources of information about historical and legal issues. The interest of scholars focuses, recently, on the study of rhetorical speeches as performances. Although some critical approaches of Demosthenes’ On the Crown appeared over the last few years, there is no systematic argument about the theatrical features of this masterpiece. By reading On the Crown, I emphasize the connection between law and theater and I suggest that rhetoric has its own “performativity”. The speech is a judicial performance: the speaker is like an actor, the court rostrum is like a theatrical scene and the audience that will vote for Demosthenes consists of the same people who take part in a theatrical performance, praising or booing the actors. The comic and tragic language and imagery, the use of emotional appeals (pathos) that is associated with the construction of characters (ēthopoiia), and finally, delivery (hypocrisis) are important theatrical devices, which Demosthenes uses in the speech. This report has a twofold structure: first, it offers a brief theoretical survey of the above-mentioned theatrical devices. Second, it provides a text-based analysis of the theatrical features of On the Crown, discussing how Demosthenes by using theatrical techniques in his speech succeeds in persuading the audience of the Crown trial and gaining an overwhelming victory over Aeschines. / text

Total body irradiation is the irradiation of the entire patient as a conditioning for bone marrow transplants. The conditioning process involves destroying the bone marrow allowing for repopulation of the donor bone marrow cells, suppression of the immune system to allow stop graft rejection, and to eliminate the cancer cell population within the patient. Studies have been done demonstrating the importance of TBI conditioning for BMT5. A range of TBI treatment techniques exist, this department uses a bi-lateral technique which requires bolus packed around the patient to simplify the geometry of the treatment. This investigation will focus on one technique which involves using a translating bed. This technique effectively scans a radiation beam over the patient as the bed moves through the beam. Other investigations on translating beds concentrated on varying the scan speed to achieve a dose uniformity to within ±5%. The recommendations quote a dose uniformity of +5% and -10% as acceptable⁹. The dose uniformity in these investigations was along the midline in the longitudinal direction only. This investigation varied field size to achieve dose uniformity to within ±2.5% along the midline of an anthropomorphic phantom. The goal was to determine if a dynamic multi-leaf collimator could be used to give a uniform in the transverse direction as well as the longitudinal direction. An advantage of utilizing the DMLC for this treatment is the ability to shield organs at risk, i.e. lungs and kidneys, without requiring resources to produce shielding blocks14. Gafchromic-EBT film18 was used as a dosimeter but gave unreliable results due to the lack of film scanning equipment with an appropriate sensitivity for reading the dose to the film. Scans were simulated using Xio treatment planning software. The results from the simulations gave a more reliable indication of the absorbed dose to the midline of the phantom. The disadvantage of this varying field size technique was the time and complexity involved in creating a treatment plan. Within the Xio software exists a limit on the number of beams allowed to be applied in a single plan. There is a maximum of 99 beams allowed which is not enough for complete coverage of a patient. A way around this is to increase the field sizes and decrease the scan speed. This option was not investigated. The advantage of this technique was the increased dose uniformity (±2.5%) in comparison to the varying scan speed techniques (±5%). This technique also allows the patient to be unencumbered during the treatment making the process more comfortable for them.

Denna uppsats syftar till att utveckla en förståelse för hur stråkinstrumentundervisning kan bedrivas då syftet är att lära ut en ergonomisk riktig spelteknik som förebygger hälsoproblem. Fokus i studien har varit på nybörjarundervisning samt HUR elever spelar. Studien har genomförts med hjälp av kvalitativ metod. Sex ergonomiskt kunniga och intresserade musiker och pedagoger har intervjuats. Deras specialområden är musikerergonom, sjukgymnast, kontrabasist, forskare, alexandertekniklärare och cellopedagog. Den kunskapsöversikt som presenteras i uppsatsen handlar om förhindrande av musikrelaterade hälsoproblem, utveckling av en fri spelteknik samt några pedagogiska konsekvenser utifrån fallstudier som gjorts på barn. Alexanderteknik, som bland annat handlar om effektiv muskelanvändning och ändring av felaktiga vanor, utgör den teoretiska utgångspunkten för studien. Resultatet visar bland annat att stråkinstrumentundervisning på ergonomisk grund ska utgå från läraren och dennes interaktion med eleven och kräver att läraren har kunskap och medvetenhet om ämnet ergonomi. Vidare visar resultatet på betydelsen av att i undervisningen prioritera kvalitet framför kvantitet, att anpassa undervisningen efter elevens olika muskulära och psykiska förutsättningar och att se eleven i ett helhetsperspektiv. Exempel på viktiga moment i tillvägagångssätt för stråkundervisning på ergonomisk grund handlar om att bevaka elevens lust och ha en sund balans i progressionen. / The purpose of this study is to develop an understanding in how teaching strings can emphasize an ergonomic way of playing, thus preventing health problems. Focus has been how to teach beginners as well as HOW to play. The study has been carried out with a qualitative method. Six musicians and teachers with ergonomics as a special field have been interviewed. They are a physiotherapist, a double bassist, a researcher, a teacher in Alexander Technique and a teacher in cello. The findings of the study deal with the prevention of musician-related injuries, developing a free playing technique, and educational consequences from a few case studies of children. The Alexander Technique, which among other aspects, deals with the effective use of muscles and changing wrong habits, is the theoretical starting point of the study. The result indicates, among other things, evidence that teaching strings in an ergonomic perspective should start with the teacher and his/her interaction with the pupil, and requires that the teacher possesses a knowledge and awareness of ergonomics. Furthermore, the result gives evidence of the importance in giving priority to quality instead of quantity, adjusting the teaching to the pupil’s different physical and psychical conditions and also viewing the pupil in a comprehensive perspective. Checking the pupil’s mindset and having a good balance of the progression, are examples of important elements in teaching strings.

Cette thèse de doctorat est consacrée à la technique de l’incrustation. Il s'agit plus précisément d'analyser la portée anthropologique de cette pratique, afin de mettre en lumière une certaine disposition du cinéma spectaculaire actuel par l'étude des pratiques du passé en repérant les survivances et les interdépendances entre les maniements techniques, les représentations esthétiques et les transpositions narratives d’une forme à une autre. L’objet de cette thèse est donc de proposer un certain point de vue de la culture populaire et des techniques employées à la représentation d’un imaginaire de l’extraordinaire, c’est-à-dire d’un cinéma spectaculaire s’inscrivant dans une anthropologie des images et des techniques qui dépasse largement le cadre cinématographique. / This PhD thesis is a study on the techniques of insertion. Its subject is to analyze the anthropological reach of this practice, and thus to develop a particular tendency in modern-day spectacular cinema by the study of past practices, seen through the survivals and interdependencies between technical handlings, aesthetic representations and narrative transpositions of one shape or another. The object of this thesis is therefore to propose a particular point of view on mainstream culture and on the techniques used to represent an imaginary of the extraordinary, or in other words, of spectacular cinema, which remains in keeping with an anthropology of images and techniques that goes way beyond the field of cinema.

Dans ce travail de thèse, nous menons une étude comparative de la céramique de la fin de l’âge du bronze entre deux zones d’études, situées en bordure nord et ouest du Massif Central, la Basse Auvergne et le Quercy. Les ensembles étudiés, issus d’habitats de hauteur, de fosses de plaine et de grottes sépulcrales concernent la phase moyenne du Bronze final. Dans un premier temps, nous développons une méthode de classement typo-chronologique. Cette analyse, par un traitement quantitatif et statistique des critères morphologiques et décoratifs des céramiques, permet de distinguer deux groupes stylistiques selon les régions. Les calages chronologiques de ceux-ci montrent que certains changements dans les formes et les décors se manifestent avec un léger décalage. Dans un second temps, nous nous interrogeons sur l’utilisation des différents types céramiques. Des propositions de classes fonctionnelles sont réalisées à partir d’observations de stigmates d’utilisation et d’analyses technologiques. Ces classes et les correspondances de certaines avec la vaisselle métallique sont ensuite étudiées selon le contexte des gisements. La prédominance, dans les grottes sépulcrales, d’une vaisselle culinaire et de table dévolue aux liquides et de nombreuses correspondances avec des formes métalliques, marque une distinction avec les habitats et traduit des pratiques liées à des repas cérémoniels. Les corpus céramiques de l’habitat de hauteur se distinguent de ceux de plaine par une vaisselle de table collective plus représentée. Une dernière approche concerne l’étude des chaînes opératoires de fabrication des céramiques. L’analyse des préparations des pâtes, des techniques de façonnage et de finition, et des modes de cuisson, permet d’illustrer des changements globaux au cours du temps, communs aux deux zones d’études. Par contre, certains choix techniques s’avèrent plus régionaux et des particularités très localisées peuvent être mises en évidence. Néanmoins, une vaisselle fine, ayant des équivalents métalliques mobilise des savoir-faire distincts aux méthodes de productions à technicité plus élevée, peut manifester une amorce de spécialisation de la production. Ces approches nous amènent à proposer différents échelons géographiques, interrégional, régional ou local, dans les extensions des traditions potières. Ceux-ci dépendent du degré de précision et des associations de critères typologiques et technologiques retenus. / This doctoral research is a comparative study of the late bronze age ceramics from two areas located in West and North of the Massif Central: the Quercy and the Basse Auvergne. The materials analyzed are all dated of the middle phase of the late bronze age and come from various contexts (high ground settlements, lowland pits, and burial caves). At first, we develop a typo-chronological classification method based on quantitative and statistical processing of morphological and decorative attributes of the ceramics that allows distinguishing two regional stylistic variants. Their chronological boundaries indicate that some shape and decorative changes occurred with a slight time lag. Secondly, we question the utilization of these different types. We identified several classes based on use wear and technological features. These vessel classes all together with their metallic equivalent when available were analyzed in regards to site function. In burial cave contexts, food and liquid consumption vessels prevailed; numerous connections with metallic items indicate a distinction with habitation contexts and attest of ceremonial banquet. Ceramic assemblages from high ground contexts can be distinguished from the lowland ones by a larger proportion of collective table vessel. We finally conduct an analysis of ceramic manufacturing following a "chaîne opératoire" approach. We identified same chronological changes in the two research areas based on paste preparation, shaping and finishing techniques, and heating procedures. On the contrary, several technical choices indicate a regional patterning and the existence of local specificities. Nevertheless, a fine vessel equivalent to the metallic one, involved greater skills and possibly denotes the emergence of craft specialization. Based on these results, we stress the need for a multi-scale approach in the interpretation of the extension and spread of typological and technological traits because their accuracy and integration level can vary.

L’illusionnisme, ou prestidigitation, est magie simulée, mise en scène du surnaturel. Cette thèse dresse un panorama de cette discipline à la Renaissance selon deux généalogies. La première est technique et pratique. Elle se fonde sur la littérature antique des secrets et la magie naturelle, transmises jusqu’aux savants, ingénieurs, artisans, saltimbanques et philosophes naturels renaissants. Elle implique une esthétique spécifique du choc, de la merveille ou de l’attraction. Sa subtilité technique fascine. Basée sur l’ingenium, elle suppose un « double public » de profanes et d’initiés. Elle ouvre à une science spectaculaire, une technique ludique, se révèle un puissant outil pédagogique et un excellent remède à la mélancolie. La seconde généalogie concerne sa réception sociale. La théologie, la démonologie, la littérature et les beaux-arts se sont confrontés au bateleur et en ont fait un marqueur d’illusion. Figure symbolique utilisée par les prédicateurs ou les polémistes, il prend place au cœur des débats sur la nature des actions diaboliques, la puissance du signe ou la transsubstantiation. Faisant du diable le suprême bateleur, la démonologie condamne généralement en retour le « prestigiateur » et ses illusions. A la croisée de ces deux généalogies, Reginald Scot, protestant, démonologue et premier pédagogue de la prestidigitation, en fait l’instrument de la critique sceptique la plus radicale, dédiabolisant les phénomènes surnaturels. Finalement, l’illusionnisme, véritable objet de savoir transverse à tous les champs, permet de jeter un autre regard sur la technique à la Renaissance. / Illusionism, conjuring art or legerdemain, is simulated magic, staging the supernatural. This thesis provides a global picture of this discipline during the Renaissance period, following two genealogies. The first is technical and practical. It is based on the ancient books of secrets and natural magic, transmitted to scholars, engineers, craftsmen, mountebanks and natural philosophers of the Renaissance periode. It involves a specific aesthetic of shock, wonder or attraction. Its technical subtlety fascinates. Based on ingenium, it assumes a "dual public" of laymen and initiates. It opens to spectacular science and playful technique. It is a powerful teaching tool and an excellent remedy for melancholy. The second genealogy deals with its social reception. Theology, demonology, literature, and the fine arts faced the juggler and made it an illusion sign. This symbol is used by preachers or polemists and takes place at the heart of debates on the nature of devil actions, the power of the sign, or transubstantiation reality. Making the devil the supreme juggler, demonology generally condemns in return the praestigiator and his illusions. Merging these two genealogies, Reginald Scot, Protestant, demonologist and first pedagogue of legerdemain, makes it the instrument of the most radical skeptical criticism, de-demonizing supernatural phenomena. Finally, illusionism is a true object of knowledge, transverse to all the fields, giving a new insight on the Renaissance period technique.

Dans cette thèse, nous nous proposons d’analyser les composants apolliniens et dionysiaques qui dialoguent, s’affrontent ou complotent mutuellement dans la conception des techniques audiovisuelles. Pour ce faire nous suivons un parcours qui va du mythe de Narcisse jusqu’au cinématographe, en passant par la fixation de l’image issue de la chambre noire et la mise en mouvement des images avec le chronophotographe.Nous nous appuyons sur le distinguo de Friedrich Nietzsche développé dans La naissance de la tragédie entre ces deux impulsions (l'apollinien et le dionysiaque) dans la mesure où celles-ci ordonnent toute construction culturelle. Nous identifions ainsi dans l’archéologie des médias le combat entre les belles formes qui veulent être fixes, et le chaos ivre qui se perd dans le devenir actif.Dans ce contexte, nous aurons recours à des couples fondateurs indispensables pour aborder les techniques audiovisuelles depuis cet angle d’analyse : lumière/ombre, réalité/imagination, culture/nature, raison/corps et, bien entendu, art/technique.Bien que le combat entre l'apollinien et le dionysiaque donne lieu, selon Nietzsche, à un accouplement dans la tragédie grecque, nous verrons que tout au long de ce que nous appelons le « trajet de l’outil » – qui va du miroir au cinématographe –, les deux impulsions se rapprochent ou s’éloignent par intermittences.C’est à partir de cela que nous formulons l’hypothèse selon laquelle avec la naissance du cinématographe (en tant que technique) et du cinéma (en tant qu’art), Apollon et Dionysos vont à nouveau s’unir dans un accouplement qui engendre l’art et la technique de la civilisation des médias audiovisuels. / This dissertation aims to analyse the Apollonian and the Dionysian components that interact, compete or plot mutually in the design of audio-visual techniques. To achieve this, we follow a path from the myth of Narcissus to the cinematograph, to the process of fixing the image in the dark room such as the moving images of the chronophotograph.We rely on the distinction of Friedrich Nietzsche developed in The Birth of Tragedy between these two pulses (the Apollonian and the Dionysian) to the extent that they enjoin any cultural construction. We identify in the archeology of the media the battle between the beautiful forms that want to be fixed, and the drunken chaos that is lost in becoming active.In this context, we will use the essential founding couples to study audiovisual techniques from this angle of analysis: light / shadow, reality / fantasy, Culture / nature, reason / body and, of course, art / technique.Although the struggle between the Apollonian and the Dionysian elements results, according to Nietzsche, in a coupling in Greek tragedy, we see that throughout what we call the "Tool path" - which embraces all the instruments form the mirror to the cinematography - the two pulses towards or away intermittently.From this analysis, we assume that with the birth of cinema (as a technique) and film (as art), Apollo and Dionysus will unite again in a coupling that begets the art and technique of the audiovisual media civilization.

No tratamento endodôntico nos deparamos com a necessidade de privar pelo bom estado pós-operatório do paciente. Dessa forma, devemos minimizar os efeitos que uma instrumentação pode causar sobre os tecidos periapicais. Nesse dilema, o presente estudo tem como objetivo comparar a quantidade de material sólido extruído além do forame apical através de duas técnicas de instrumentação manuais: técnica Step-Back ou Escalonada regressiva e técnica de Oregon e três técnicas de instrumentação mecânicorotatórias preconizadas pelos fabricantes dos instrumentos: Sistema ProTaper, Sistema K3 Endo e Sistema FKG RaCeTM. Setenta e cinco dentes unirradiculados foram utilizados, sendo 15 dentes para cada técnica. O material sólido extruído foi coletado por um filtro de papel (Whatman®). Tais filtros foram, após a instrumentação, submetidos a secagem em estufa e posterior pesagem em balança digital de alta precisão. A massa de resíduo extruído foi dada pela diferença entre a massa inicial e a massa final. A análise dos resultados mostrou extrusão de material sólido além do forame apical em todas as técnicas de instrumentação utilizadas, porém foi observado que a técnica Step-Back promoveu maior quantidade de material extruído quando comparada às outras técnicas e que não houve diferença significante entre as técnicas de Oregon e as dos Sistemas rotatórios. As técnicas foram assim classificadas em ordem crescente de material sólido extruído além do forame apical: Sistema K3 Endo, Sistema ProTaper, Sistema FKGRaCe, técnica de Oregon e Técnica Step Back. / Patient\'s general health is fundamental during endodontic therapy. Thus, we must minimize the harmful instrumentation effects in the periapical tissues. The aim of this study was to compare the amount of solid material extruded beyond the apical foramen among 2 manual instrumentation techniques: Step-Back and the Oregon\'s technique, as well as 3 mechanorotary techniques preconized by the manufacturers of the following instruments: ProTaper, K3 Endo, and FKG RaCeTM Systems. Seventy-five unirradicular teeth were used, being 15 teeth in each technique. The solid material extruded was collected with a paper filter (Whatman). Afterward, the filters were dry in the oven and weighted in an analytical balance. The extruded material was considered as the difference between final and initial mass values. Data analysis showed extrusion for all instrumentation techniques; however, the Step-back technique provided greater values than the other techniques, and no differences were seen among the Oregon and the rotary techniques. Progressive classification for the extruded material was the following: K3 Endo, ProTaper, FKGRaCe, Oregon, and The Step-back technique.

In this dissertation a computer-aided automation design methodology for biotechnology applications is proposed that leads to several design guidelines. Because of the biological nature of the samples that propagate in the automation line, a very specific set of environmental and maximum allowed shelf time conditions have to be followed to obtain good yield. In addition all biotechnology protocols require precise sequence of steps, the samples are scarce and the reagents are costly, so no waste can be afforded. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

François Rabbath a maintenant plus de 80 ans ; il sillonne toujours le monde en tant que soliste et professeur. Sa contribution majeure à la pédagogie de la contrebasse est sa méthode en 4 volumes : La nouvelle technique de la contrebasse. Sa méthode est une nouvelle approche de l'enseignement de la contrebasse.Pour F. Rabbath, la qualité de la musique depend de : l'instrument, les cordes, l'archet, la position des mains.Sa contrebasse datée de 1936, a été fabriquée par Ch. Quenoil. C'est un instrument pour les solistes aux petites épaules, mais par sa sonorité est ample comme celle d'un instrument de l'orchestre, l'ampleur qui se combine avec la facilité de jeu d'une petite contrebasse.En s'intéressant à la pique comme à un axe d'équilibre entre le bas et la tête de l'instrument, il découvrit aussi que le matériau dont la pique est construite permet d'avoir plus ou moins de vibrations.Le luthier Ch. Laborie avec F. Rabbath ont eu l'idée d'une solution élégante, une tige de carbone mise directement en bas de la contrebasse dans l'angle précis. Cette nouvelle version de la pique s'appelle la « pique Rabbath-Laborie ».Gerold Genßler (chef d'une entreprise allemande indépendante de fabrication de cordes) demanda de l'aide à F. Rabbath pour découvrir le son d'une nouvelle corde ; F. Rabbath joua ensuite avec ces cordes.Dans la Nouvelle technique de la contrebasse, F. Rabbath a divisé la touche en 6 positions, définies en fonction de l'harmonie naturelle des cordes. Cela vient de l'utilisation élargie du placement des doigts, non pas de l'extension du mouvement. Cela vient aussi de l'élargissement de la main pour atteindre de nouvelles notes : F. Rabbath appelle cette technique pivot. Le joueur peut utiliser par exemple la position 1, 2 ou 3, sans forcément bouger la main, mais seulement en plaçant le pouce à la bonne place, et en remuant la main d'avant en arrière. Cette méthode de pivot permet la succession de différentes positions.La technique du crabe découverte par F. Rabbath est constituée par le mouvement de la main qui ressemble à la marche d'un crabe, de côté. Il permet à une partie de cette main de bouger lorsque l'autre est immobile, puis inversement. Ainsi elle peut monter et descendre le long de la corde dans certains passages sans changer de position.F. Rabbath a développé un nombre important de variation de coups d'archet. Cette méthode est différentes des autres qui se concentrent sur certains segments de la contrebasse plutôt qu'uniquement sur la touche.F. Rabbath a travaillé sur la théorie qui contribue au développement de la méthode d'enseignement de la contrebasse, à travers ses années d'enseignement et sa riche expérience, il donne plus d'importance à la relation entre l'interprétation et l'éducation. Dans cette méthode, il développe l'art d'être un artiste et son désir de partager sa passion de la contrebasse. / Although F. Rabbath is more than 80 years old, he goes on traveling all over the world as a soloist and as a teacher. The major contribution of the double-bass pedagogy is the method of the double-bass playing published in the four volumes of the Nouvelle technique de la contrebasse (trad. New Technique of double-bass).His Nouvelle technique de la contrebasse is a new approach to double-bass playing in the pedagogy of this instrument. For F. Rabbath, to get a good quality of music all is important : the sound of the instrument, of the string, of the bow and also the position of the hands, etc.His double-bass was built by Charles Quenoil in 1936. It is the instrument for soloists with « small shoulders », and with a pitch like an orchestral instrument. It seems that this form combines the size of an orchestral instrument sound with the easiness of the playing of a small double-bass.F. Rabbath discovered how the endpins influence the playing. By focusing on the endpins as a balance between the bottom and top of the instrument, he also discovered how the material used for endpins allows more or less vibrations.He and Christian Laborie « took the idea to an elegant solution with a graphite rod installed directly into the end block at the proper angle.1» The new and improved version is called The Rabbath-Laborie Endpin.
Gerold Genßler, germany independent production, asked F. Rabbath for help discovered the new string sound. After his production, F. Rabbath play with these strings.
In Nouvelle technique de la contrebasse F. Rabbath divided the fingerboard into six positions, defined by the location of natural harmonics on the strings. This is done by using extension fingerings, not extensions with shifts. It is an extension where there is a widening of the hand to reach a new note. F. Rabbath called this technique « pivot ».The player can use for example first, second, third positions without the need for shifts but only by placing the thumb in an appropriate place and just rocking the hand back and forth. Thus, the pivot method enables the succession of several different positions. The « Crab Technique », is another technique discovered by Francois Rabbath. The hand movement resembles a crab's sideways walking : allows for part of the hand to move while the other part remains and vice versa - in this way the hand can move up and down the strings in certain passages without ever fully shifting.
F. Rabbath has also developed a number of bowing variations, from whole notes to even faster, middle, tip, and then middle parts of the bow.F. Rabbath works on the theory contributes to the development of the teaching methodology of the double-bass. Over the years has been, still is, teaching the importance of the movement and the position of the body, more than musical. For him, this is the base towards good interpretation of any level of music.In his method François Rabbath also develops his art of being an artist and the desire to share and pass his passion for the double-bass.