Cette thèse porte sur le domaine de la littérature française en Suisse romande et est consacrée à la production littéraire de l’un des acteurs du renouveau littéraire romand au début du XXe siècle, Gonzague de Reynold (1880-1970), compagnon d’écrivains célèbres comme C. F. Ramuz et Ch. A. Cingria. Dans une œuvre abondante et inégale, particulièrement consacrée à des essais historiques et parfois politiques, un corpus poétique plus restreint a été délimité, couvrant particulièrement la période contemporaine de La Voile latine (1904-1910) et du premier conflit mondial, jusqu’aux grandes années de l’Entre-deux-guerres. Entre 1904 et 1931, Reynold accorde en effet une place importante à la création littéraire, avant de se laisser accaparer par l’action catholique et/ou nationaliste, l’écriture d’essais politiques et plus tard la composition de vastes synthèses sur l’idée européenne. De L’Âge d’or (1898) et Au Pays des Aïeux (1904) à Conquête du Nord (1931), en passant par Cités et pays suisses (1914-1920), et les Contes et légendes de la Suisse héroïque, plusieurs œuvres en vers et en prose assurent à leur auteur le statut de poète, image que vient bientôt concurrencer sa renommée d’intellectuel et d’historien de la civilisation. Jusque dans les années cinquante, Reynold est considéré en Suisse et à l’étranger comme le principal écrivain de Suisse romande avec Ramuz, avant que le vieillissement d’une œuvre, les remises en cause de la deuxième Guerre mondiale et l’émergence de concurrents viennent lentement le reléguer au second plan. Le but de cette thèse est d’étudier comment Reynold a été le principal acteur d’une poésie helvétiste renouvelée destinée à ré-enchanter tant le singulier que le collectif. Cette relecture des œuvres de Reynold fait assister à la forge d’une identité qui esquisse une quête lyrique de soi, une refondation du lieu d’origine et une tentative épique. Si la poésie elle-même inclut une expression du politique et une ontologie, l’œuvre poétique de Reynold montre les conditions de réalisation et les contradictions d’une poésie d’inspiration nationaliste en Suisse, de son esquisse à son effacement/dépassement, au rythme des événements historiques et de l’évolution intellectuelle et culturelle du début du XXe siècle. / This thesis deals with the French litterature in French-speaking Switzerland and focuses on Gonzague de Reynold (1880-1970), comrade of some famous writers like C.F. Ramuz and Ch. A. Cingria and one of the actors of the French-speaking Switzerland literary revolution at the beginning of the XXth Century. In an extensive but uneven work particulary devoted to some historical and sometimes political essays, a limited corpus covering the contemporary period which is named "La Voile Latine" (1904-1901) and from the First World War to the interwar years has been chosen.Between 1904 and 1931, Reynold gives literary production a significant place just before being caught by catholic and/or nationalist action, political essays writing and finally the European idea. From "L'Âge d'or" (1898), "Au pays des Aïeux" (1904) to "Conquête du Nord" (1931) by way of "Cités et pays suisses" (1914-1920), "Contes et légendes de la Suisse héroïque" and many poems written in verse or prose, all these different works give the writer the status of poet although his image will soon be in competition with his reputation of an intellectual and a historian.Up to the fiftees, Reynold used to be considered inland and abroad as the main writer in French-speaking Switzerland just as Ramuz. But the ageing of a literary production and the new questioning after World War II push him progressively into the background. The aim of this thesis is to study how Reynold was the main actor of a new form of Swiss poetry destined to re-enchant the person as well as the people.This poem shows the building of one's identity by means of a lyrical quest of oneself, a reconstruction of the original place, an epic attempt. Reynold's poetry eventually shows the conditions of realisation and the contradictions of a poetry inspired by Swiss nationalism from its draft to its eradication/overtaking, at the pace of the historical events and cultural/intellectual evolution at the beginning of the XXth Century.

<p>The X-ray Multi-mirror Mission, XMM-Newton was launched by the European Space Agency, ESA, in 1999. XMM-Newton carries six cameras, including a silicon pn-junction Charge Coupled Device, or pn-CCD camera. This camera has six operating modes, spatially as well as time resolved. The main objective of this project is to refine the Burst mode energy correction in order to align the measured energy spectra observed in the Burst mode with the spectra taken in the Full Frame mode. An observation of the line-rich supernova remnant called Cassiopeia A is used to evaluate the line positions in each mode such that the energy correction function used for the alignment can be modified accordingly. The analysis further treats the application of the correction on a source with a continuous spectrum, the Crab nebula. Discussion shows how to reduce eventual residuals in the Crab spectrum by modifying the correction function while keeping the alignment of the Cas-A spectra. The final product is an update of the corresponding published calibration file.</p>

The widely acknowledged performance gap between processors and memory has been the subject of much research. In the Explicitly Parallel Instruction Computing (EPIC) paradigm, the combination of in-order issue and the presence of a large number of parallel function units has further worsen the problem. Prefetching, by hardware, software or a combination of both, has been one of the primary mechanisms to alleviate this problem. In this talk, we will discuss two prefetching mechanisms, one hardware and other software, suitable for implementation in EPIC processors. Both methods rely on the off-line learning of Markovian predictors. In the hardware mechanism, the predictors are loaded into a table that is used by a prefetch engine. We have shown that the method is particularly effective for prefetching into the L2 cache. Our software mechanism which we called predicated prefetch leverages on informing loads. This is used in conjunction with data remapping and offline learning of Markovian predictors. This distinguishes our approach from early software prefetching techniques that only involves static program analysis. Our experiments show that this framework, together with the algorithms used in it, can effectively remove, in the best instance, 30% of the stall cycles due to cache misses. The results also show that the framework performs better than pure hardware stride predictors and has lower bandwidth and instruction overheads than that of pure software approaches. / Singapore-MIT Alliance (SMA)

Literary histories of specific genres like tragedy or epic typically concern themselves with influence and deviation, tradition and innovation, the genealogical links between authors and the forms they make. Renaissance scholarship is particularly suited to these accounts of generic evolution; we read of the afterlife of Senecan tragedy in English drama, or of the respective influence of Virgil and Lucan on Renaissance epic. My study of epic poetry differs, though: by insisting on the primacy of material conditions, social organization and especially information technology to the production of literature, I present a discontinuous series of set pieces in which any given epic poem—the Iliad, the Aeneid, or The Faerie Queene—is structured more by local circumstances and methods than by authorial responses to distant epic predecessors. Ultimately I make arguments about how modes of literary production determine the forms of epic poems. Achilleus’ contradictory and anachronistic funerary practices in Iliad 23, for instance, are symptomatic of the accumulative transcription of disparate oral performances over time, which calls into question what, if any artistic ‘unity’ might guide scholarly readings of the Homeric texts. While classicists have conventionally opposed Virgil’s Aeneid to Lucan’s Bellum Civile on aesthetic and political grounds, I argue that both poets endorse the ethnographic-imperialist ideology ‘virtus at the frontier’ under the twin pressures of Julio-Claudian military expansion and the Principate’s instrumentalization of Roman intellectual life in its public library system. Finally, my chapter on Renaissance English epic demonstrates how Spenser and Milton grappled with humanist anxieties about the political utility of the classics and the unmanageable archive produced by print culture. It is my hope that this thesis coheres into a narrative of a particularly long-lived genre, the epic, and the mutations and adaptations it underwent in oral, manuscript, and print contexts.

Peritoneal carcinomatosis (PC) is a common manifestation of both gastrointestinal and gynecologic malignancies. Until recently, this condition was considered beyond curative intent treatment. Since the 1980s, new treatment strategies combining cytoreductive surgery (CRS) with perioperative intraperitoneal and intravenous chemotherapy have emerged. The underlying hypothesis considers CRS responsible for the removal of the macroscopic disease and that perioperative chemotherapy should address the residual microscopic disease. These new treatment regimens have presented encouraging clinical results that contrast with prior failure. The parameters for perioperative chemotherapy are mainly extrapolated from literature on peritoneal dialysis and data from systemic chemotherapy. The overall aim of this thesis was to provide a pharmacokinetic and pharmacodynamic rationale for perioperative intraperitoneal (IP) and intravenous (IV) chemotherapy in PC patients and, to assess its toxicity. After intraoperative IV administration of 5-fluorouracil or ifosfamide, substantial levels of these drugs were found inside the peritoneal fluid and tumor nodules (Papers I and II). This created a pharmacologically advantageous situation whereby a normothermic administered IV drug was subject to the effect of the local hyperthermia in the peritoneal fluid and tumor nodule. High levels of 5-fluouracil, ifosfamide and doxorubicin were observed inside the tumor nodules (Papers I, II and III) and, the identical pharmacokinetic advantage (expressed as Area Under the Curve (AUC) IP/IV ratios)) resulted in different drug levels of doxorubicin according to the density of the tumor nodules (Paper III). These data stressed the importance of pharmacodynamic variables such as tumor nodule density, size, and, vascularity. Therefore, the tumor nodule is proposed as a more appropriate pharmacological endpoint than AUC ratios. After IP Mitomycin C administration in PC patients with a contracted abdomen, mitomycin clearance from the abdomen decreased (Paper IV), which indicated  these patients at risk of under-treatment. Consequently, these pharmacologic data indicate a change in dosimetry for these treatment protocols might be warranted according to the diffusion area. Although diffusional vectors are viewed the main driving force for these treatment protocols, only pharmacokinetic variables such as dose, volume and duration are considered. As pharmacodynamic variables are equally important in the pharmacological assessment of cytotoxic effect, the tumor nodule was proposed as the center of a new conceptual model (Paper I). Mitomycin C data on non-metabolizers ( Paper IV) indicated the cytotoxicity of these cancer chemotherapy protocols is at the level of the individual tumor nodules. The morbidity and mortality of a new bidirectional intraoperative chemotherapy regimen in PC patients was analyzed (Paper V) which provided a means for identifying subsets of patients at risk for increased toxicity. This thesis provides pharmacokinetic and pharmacodynamic guidance for improving perioperative chemotherapy treatment strategies in PC patients and reports its toxicity.

The X-ray Multi-mirror Mission, XMM-Newton was launched by the European Space Agency, ESA, in 1999. XMM-Newton carries six cameras, including a silicon pn-junction Charge Coupled Device, or pn-CCD camera. This camera has six operating modes, spatially as well as time resolved. The main objective of this project is to refine the Burst mode energy correction in order to align the measured energy spectra observed in the Burst mode with the spectra taken in the Full Frame mode. An observation of the line-rich supernova remnant called Cassiopeia A is used to evaluate the line positions in each mode such that the energy correction function used for the alignment can be modified accordingly. The analysis further treats the application of the correction on a source with a continuous spectrum, the Crab nebula. Discussion shows how to reduce eventual residuals in the Crab spectrum by modifying the correction function while keeping the alignment of the Cas-A spectra. The final product is an update of the corresponding published calibration file.

XMM-Newton is a X-ray telescope launched december 1999, by the European Space Agency, ESA. On board XMM-Newton are two EPIC-MOS X-ray detectors. The detectors are build by Charged Coupled Devices (CCDs), of Metal Oxide Semi-conductor type. The EPIC-MOS cameras have four science operating modes. This project aims to evaluate the calibration for one of these four modes, the timing mode. The evaluation is divided into two parts. The first part is the evaluation of the flux calibration, performed by analysing various observation made in timing mode. The second part is the evaluation of timing properties by performing timing analysis of XMM-Newton observations of the Crab nebula compared to observations made in the radio wavelengths.

The story of Gilgamesh has been viewed as an example of several different narrative genres. This thesis establishes how scholarship in English published between 1872 and 1967 has described Gilgamesh as a myth, or denied Gilgamesh status as a myth and discusses new the meanings that the context of myth brings to the story. This thesis represents preliminary work on a larger project of exploring present day artistic meaning making efforts that revolve around Gilgamesh.

Virginia Woolf once remarked that, “[t]here is no reason to think that the form of the epic ... suit[s] a woman any more than the [masculine] sentence” (Woolf 84). This thesis represents an attempt to explore what the epic genre, as imagined and written by women, might look like in regards to the verse of fellow women poets Felicia Hemans and Elizabeth Barrett Browning. Despite the persistent critical misconception that women’s poetry of the Romantic and Victorian periods is comprised mainly of light, lyric verse and tends to lack that “great effort” – for example, the epic poem – which often appears in the work of their male contemporaries, this thesis will argue conversely that Hemans and Barrett Browning do assume certain aspects of traditional epic poetry – a genre “almost coterminous” with masculinity (Schweizer 1) – in their work, while also managing to transform the genre in order that their work might successfully embody a more feminine perspective. The first chapter of the thesis examines the ways in which these two women poets are able to bridge the private and public spheres by transforming the quintessential role of the female poet as record-keeper into that of the poet as prophet and visionary in their political poetry. The two following chapters will highlight the ways in which both Hemans and Barrett Browning remodel the epic form in order to draw attention to the female voice (chapter two) and to examine new and unconventional prototypes of female heroinism, for example the pioneering female artist and the militant mother (chapter three). With strong ties to a masculine tradition of epic, yet incorporating aspects of femininity hitherto foreign – perhaps even inimical – to the traditional conception of the genre, female epic, while admittedly something of a hybrid, arguably represents a distinctive genre in its own right and one which certainly merits more critical attention in the future.

Virginia Woolf once remarked that, “[t]here is no reason to think that the form of the epic ... suit[s] a woman any more than the [masculine] sentence” (Woolf 84). This thesis represents an attempt to explore what the epic genre, as imagined and written by women, might look like in regards to the verse of fellow women poets Felicia Hemans and Elizabeth Barrett Browning. Despite the persistent critical misconception that women’s poetry of the Romantic and Victorian periods is comprised mainly of light, lyric verse and tends to lack that “great effort” – for example, the epic poem – which often appears in the work of their male contemporaries, this thesis will argue conversely that Hemans and Barrett Browning do assume certain aspects of traditional epic poetry – a genre “almost coterminous” with masculinity (Schweizer 1) – in their work, while also managing to transform the genre in order that their work might successfully embody a more feminine perspective. The first chapter of the thesis examines the ways in which these two women poets are able to bridge the private and public spheres by transforming the quintessential role of the female poet as record-keeper into that of the poet as prophet and visionary in their political poetry. The two following chapters will highlight the ways in which both Hemans and Barrett Browning remodel the epic form in order to draw attention to the female voice (chapter two) and to examine new and unconventional prototypes of female heroinism, for example the pioneering female artist and the militant mother (chapter three). With strong ties to a masculine tradition of epic, yet incorporating aspects of femininity hitherto foreign – perhaps even inimical – to the traditional conception of the genre, female epic, while admittedly something of a hybrid, arguably represents a distinctive genre in its own right and one which certainly merits more critical attention in the future.