Soient k un corps algébriquement clos et V une variété algébrique sur k. Dans le but d'étudier la géométrie du lieu singulier de V, John Nash a introduit l'espace d'arcs et les espaces de m-jets, m>0, dans une prépublication de 1968 qui a été publiée en 1995. Il a aussi défini une application, actuellement connue sous le nom d'application de Nash, qui associe à chaque famille d'arcs passant par le lieu singulier de V (composante de Nash) un diviseur essentiel sur V. Nash a démontré que cette application est injective. Le problème de Nash consiste à étudier la surjectivité de l'application de Nash. Dans plusieurs cas de variétés V, la bijectivité de cette application a été prouvée. Or, un exemple d'une singularité isolée d'hypersurface de l'espace affine de dimension 5 avec deux diviseurs essentiels et une composante de Nash a été donné dans un article de 2003. À l'heure actuelle, déterminer l'image de l'application de Nash reste un problème difficile, mêmes dans le cas de singularités bien connues. Dans cette thèse, on démontre la bijectivité de l'application de Nash pour certaines familles de singularités isolées d'hypersurfaces des espaces affines de dimension 3 et 4. / Be it that K is a closed algebraic field and V an algebraic variety on K. In the goal of studying the geometry of a singular space on V, John Nash introduced the space of arcs and the spaces of m-jets, m>0, in a 1968 preprint, published in 1995. He also defined an application, currently known as Nash's application, which associates an essential divisor on V to each arc family passing by V's singular space. Nash proved that this application is injective. The Nash problem consists of studying the surjectivity of the Nash application. In several cases of V varieties the bijectivity of this application has been proven. However an example of an isolated hypersurface singularity of affine space of dimension 5 with two essential divisors and one Nash component has been given in a 2003 article. Currently determining the image of the Nash application remains a difficult problem, even in the case of well known singularities. This thesis proves the bijectivity of the Nash application for certain families of isolated hypersurface singularities of the affine spaces of dimension 3 and 4.

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-09-23T14:53:36Z No. of bitstreams: 1 DISS_2015_Lairce Aleluia de Campos.pdf: 1833828 bytes, checksum: 8883b9e7f0153ba8a4156610d8e926fe (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-09-23T14:56:58Z (GMT) No. of bitstreams: 1 DISS_2015_Lairce Aleluia de Campos.pdf: 1833828 bytes, checksum: 8883b9e7f0153ba8a4156610d8e926fe (MD5) / Made available in DSpace on 2016-09-23T14:56:58Z (GMT). No. of bitstreams: 1 DISS_2015_Lairce Aleluia de Campos.pdf: 1833828 bytes, checksum: 8883b9e7f0153ba8a4156610d8e926fe (MD5) Previous issue date: 2015-12-15 / Busca esta dissertação estudar o perfil sociológico dos torcedores cuiabanos de futebol, cuja pesquisa foi desenvolvida durante a Copa do Mundo de Futebol de 2014, realizada no Brasil. Foi observada a relação estabelecida entre tais torcedores, a Seleção Brasileira de Futebol e seus clubes de futebol do coração. Sob perspectivas antropológica e sociológica, foram mapeadas as práticas torcedoras, construídas durante os jogos em que a Seleção Brasileira atuou. Tendo-se em vista a caracterização dos sujeitos, foi preciso conhecer o torcedor cuiabano. Tal abordagem se deu através de três eixos, sendo que o primeiro refere-se ao perfil socioeconômico; o segundo aborda a relação do torcedor com o futebol, e o terceiro eixo trata do vínculo do torcedor com os clubes brasileiros e com a Seleção Brasileira de Futebol. Os constructos teóricos foram pautados em estudos e conceitos sobre “tribo”, desenvolvidos por Maffesoli, “clubismo” em Damo e “torcidas” através de Toledo. Pautamos a metodologia na pesquisa Survey, de caráter quantitativo e qualitativo, via questionários, entrevistas semiestruturadas, fotografias e referências bibliográficas. Revelam os resultados que o torcedor, que antes se via desvinculado da prática de ir ao estádio de futebol para prestigiar as partidas, sentiu-se estimulado a frequentá-lo. / This dissertation studies the sociological profile cuiabano soccer fans, whose research was developed during the World Cup 2014, held in Brazil. It was observed the relation between such fans, the Brazilian national soccer team and its football clubs of the heart. Under anthropological and sociological perspective, the cheerleaders practices were mapped, built during the games in which the Brazilian team played. Keeping in view characterizing the subjects, it was necessary to know the cuiabano fans. Such an approach was made through three axes, the first of which refers to the socioeconomic profile; the second addresses the relationship of fans with soccer, and the third axis is the supporter of the bond with Brazilian clubs and with the Brazilian national football team. The theoretical constructs were based on studies and concepts of "tribe", developed by Maffesoli, "clubismo" in Damo and "twisted" by Toledo. We base the methodology in Survey research, both quantitative and qualitative, via questionnaires, semi-structured interviews, photographs and references. The results reveal that the fans who once found himself disengaged from the practice of going to the football stadium to honor the matches, he was encouraged to attend it.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-07T14:02:51Z No. of bitstreams: 1 arquivo total.pdf: 1597477 bytes, checksum: 8b2e1918cf31a4112621f69d34576ac1 (MD5) / Made available in DSpace on 2016-06-07T14:02:51Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1597477 bytes, checksum: 8b2e1918cf31a4112621f69d34576ac1 (MD5) Previous issue date: 2015-08-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Les études consacrées à la culture de fans connaissent de nos jours un développement de plus en plus important et, bien que la notion de ce que signifie être un “fan” se trouve présente dans nos societés depuis longtemps, la plupart des fois elle a une connotation fortement négative. Cepedant, la théorie de la culture participative (JENKINS, 2009, 2010) affirme que les fans (“fandom”) ont assumé un rôle actif, influençant les choix des entreprises dans la production et la distribution de produits. Parmi les productions réalisées par des fans, l’une des principales est la fan-traduction. Dans la fan-traduction, un groupe de volontaires se réunit pour traduire et rendre accessible gratuitement, à d’autres fans, diverses oeuvres qui n’ont pas encore bénéficié d’une traduction officielle. Compte tenu du grand nombre de livres traduits en amateurs par des fans, le but de cette étude est de comprendre et d’analyser comment la fan-traduction est-elle prise en charge au sein de la culture participative. Le corpus de la recherche est formé par la fan-traduction (groupe Shadow Secrets, 2009) et la traduction officielle (Alexandre D‟Elia/Editora Rocco, 2010) du roman dystopique Jogos vorazes (The Hunger Games, Editora Scholastic, 2008) de l’écrivaine nord-américaine Suzanne Collins. Du point de vue méthodologique, nous avons eu recours à l'analyse interprétative-descriptive dans le but de saisir les stratégies possiblement utilisées par les fan-traducteurs et par les traducteurs officiels dans leurs respectives traductions. Nous avons également procédé à une analyse comparative des deux traductions, afin d'observer les principales différences entre les textes. Le cadre théorique de l'analyse renvoie aux études menées par Lawrence Venuti (2002, 2004b) sur les stratégies de “domestication” et “foreignization”, et l'invisibilité du traducteur; aux tendances déformantes dans la traduction proposées par Antoine Berman (2013), et aux notions de bilinguisme et compétence en traduction développées par Wolfgang Lörscher (2012). Les résultats montrent que la fan-traduction ne suit pas un modèle particulier de stratégie traductive, mais choisit de suivre une voie plus libre par rapport à la traduction officielle en se rapprochant de la structure du texte d’origine, et cela au risque de compromettre le sens du texte cible. Les résultats ont également montré qu’il manque au traducteur-fan une certaine compétence en traduction spécifique, présente chez les professionnels. Cette compétence en traduction est attribuée aux personnes bilingues – profil qui prédomine chez les fans – et est perpétuée par la croyance que cet individu bilingue possède naturellement la compétence requise pour traduire. Nous sommes arrivée à la conclusion que les fans-traducteurs possèdent moins de compétence que les traducteurs officiels pour transférer les différents sens, qu’ils soient culturels ou linguistiques, du texte original vers le texte de la langue cible, suscitant parfois la confusion chez le lecteur. / Os estudos referentes à cultura dos fãs vêm crescendo cada vez mais e, embora a noção do que significa ser um “fã” se encontre presente em nossa sociedade há bastante tempo, na maioria das vezes tem uma conotação altamente negativa. A própria indústria do entretenimento costumava desprezar os fãs, considerando-os como pessoas cuja opinião não representava a de outros consumidores. A teoria da cultura participativa (JENKINS, 2009, 2010), porém, afirma que os fãs (fandom) assumiram um papel ativo, influenciando as escolhas das empresas na produção e distribuição de produtos. Dentro das produções realizadas pelos fãs, uma das principais é a fã-tradução. Na fã-tradução, um grupo de voluntários se forma para traduzir e disponibilizar para outros fãs, gratuitamente, obras variadas que ainda não contam com uma tradução oficial. Dessa forma, a obra se torna acessível a leitores que não dominam uma língua estrangeira, ao mesmo tempo em que ocorre certa publicidade do produto, abrindo oportunidades para que receba uma tradução oficial. Pensando no grande número de livros traduzidos de forma amadora pelos fãs, o objetivo deste trabalho é compreender e analisar como funciona a fã-tradução dentro da cultura participativa. A pesquisa possui como corpus a fã-tradução (grupo Shadow Secrets) e a tradução oficial (Editora Rocco/Alexandre D’Elia) do romance distópico Jogos vorazes (The Hunger Games), da estadunidense Suzanne Collins. Do ponto de vista teórico-metodológico, utilizamos a análise interpretativa-descritiva visando a desvelar as possíveis estratégias utilizadas pelos fãs-tradutores no decorrer da tradução, bem como pelo tradutor oficial na tradução oficial. Procedemos ainda com uma análise comparativa entre as duas traduções, no intuito de observar as diferenças mais proeminentes entre elas. O referencial teórico para a análise se encontra nos estudos realizados por Lawrence Venuti (2002, 2004b) sobre as estratégias de domesticação e estrangeirização, e sobre a invisibilidade do tradutor; nas tendências deformadoras na tradução propostas por Antoine Berman (2013) e nas noções de bilinguismo e competência tradutória desenvolvidas por Wolfgang Lörscher (2012). Os resultados mostram que a fã-tradução não segue um modelo de estratégia tradutória em particular, mas escolhe seguir um caminho mais livre se comparada à tradução oficial, optando por se aproximar da estrutura do texto de origem, muitas vezes comprometendo o significado do texto alvo. Foi possível constatar que aos fãs-tradutores falta determinada competência tradutória, presente nos profissionais da área. Essa competência tradutória é esperada dos indivíduos bilíngues, perfil geral dos fãs-tradutores, sendo perpetuada pela crença de que tal indivíduo possui naturalmente a capacidade para traduzir (LÖRSCHER, 2012). Concluímos que os fãs-tradutores possuem menos habilidade que os tradutores oficiais para transferir os diversos sentidos do texto original, sejam eles culturais ou linguísticos, para o texto da língua alvo, chegando, algumas vezes, a induzir confusão nos leitores.

Este trabalho desenvolve um estudo do sistema de produção estabelecido por fãs da trilogia de filmes O Hobbit. Nós partimos da questão “como se organiza o fandom de O Hobbit a partir da produção de fanworks sobre fanworks?” com o objetivo de verificar como as práticas de consumo e produção internas ao fandom de O Hobbit podem defini-lo como comunidade interpretativa. Assim, tomamos por objeto teórico o sistema de produção de fãs que se estabelece a partir do que um fã faz sobre o trabalho já produzido por outros fãs, fanworks de fanworks. Para embasar nossa pesquisa, apresentamos uma contextualização dos estudos de fãs em Comunicação, a partir de um panorama da literatura internacional e seu desenvolvimento sobre o conceito, com um aprofundamento na produção de teses e dissertações nacionais, que nos permitem compreender como o tema, e esse objeto em específico, vem sido trabalhado academicamente para situar a nossa pesquisa. Desenvolvemos também uma reflexão teórica buscando problematizar a produção dos fãs com relação aos processos de consumo cultural e midiático e sua articulação em comunidade. A partir desse contexto teórico, desenvolvemos duas pesquisas exploratórias que se embasam na interpretação de dados levantados por pesquisas maiores realizadas por terceiros: AO3 Census e o Hobbit Project. Os dados da primeira pesquisa nos permitem compreender mais sobre os fãs e suas práticas de consumo e produção, enquanto os dados da segunda nos lança luz sobre o fandom dos filmes de O Hobbit em específico. A partir da análise de conteúdo realizada nessas exploratórias, fundamentamos delimitações de contexto e ferramentas metodológicas a serem apropriados em nossa pesquisa. Com inspiração etnográfica, realizamos dois experimentos buscando as interações dos sujeitos envolvidos nos processos de produção realizados pelos fãs: uma imersão em um site de postagem de fanworks, o AO3, em que analisamos as notas deixadas por autores de fanworks produzidos sobre outros fanworks para os seus leitores. Pudemos não só nos aprofundar nas formas de produção, mas também nas relações pessoais estabelecidas entre fãs nesse processo. O segundo experimento se fundou em uma imersão em campo, em que realizamos entrevistas pré-estruturadas com fãs de O Hobbit participantes da I Feira Medieval de São Leopoldo, buscando compreender mais de suas interações e formas de produção. Por fim, nossa análise se volta para as particularidades do sistema de produção de fanworks sobre fanworks com relação ao fandom como comunidade, trazendo como principais resultados a constituição de uma rede de produção estruturada nos critérios interpretativos dos fãs e o processo de identificação do fã como fã. / This work develops a study on the production system established by fans of The Hobbit movie trilogy. Our starting point was the question “how does The Hobbit fandom organize itself based on the fanworks about fanworks?” with the objective of verifying how the consumers practices and internal productions of The Hobbit fandom are able to define it as an interpretive community. Thus, we took as a theoretical objective the fans production system established by the work a fan made based on a work created by another fan, fanworks of fanworks. In order to base our research, we present a contextualization of the fans studies in Communication, from an overview of international literature and its development about the concept, with a deepening in the production of national theses and dissertations. That allow us to comprehend how the topic, and this objective in specific, have been worked on academically to situate our research. We also developed a theoretical reflection with the intention of discussing the fan production in relation to the cultural and media consumption and its articulation in community. Two exploratory researches that are based on the interpretation of data collected by to major researches made by third parties were developed from this theoretical context: AO3 Census and the Hobbit Project. The data from the first research allowed us to comprehend more about the fans and their practice of consumption and production, while the data from the second one shines a light on the films’ fandom for The Hobbit in specific. Then, based on the content analysis done on these exploratory researches we substantiated boundaries of context and methodological tools to be appropriated in our research. Inspired by ethnography, we’ve conducted two experiments in search of the interactions between subjects involved on the production process done by the fans: an immersion in a fanwork website, AO3, in which we analysed the notes left by authors of fanworks about other fanworks to its readers. We were able to not only deepened in the ways of production, but also in the personal relations established between fans in this process. The second experiment was based on a field immersion, in which we’ve conducted pre-structured interviews with fans of The Hobbit participating on the I Medieval Fair of São Leopoldo, with the intention of comprehending more about their interaction and ways of production. Finally, our analysis focus on the singularities of the production system of fanworks of fanworks related to the fandom as a community, rendering as its main result the building of a production network established on the interpretative criteria of the fans and the process of identification of the fan as a fan.

O objetivo desta dissertação é analisar a cobertura jornalística ao cinema brasileiro durante os anos cinqüenta em duas revistas de fãs: A Cena Muda (1921-1955) e Cinelândia (1952-1967), avaliando a estrutura da crítica cinematográfica e seu papel como geradora do star system brasileiro. A análise do material de nosso estudo congrega os anos de 1952 a 1955, único período em que as duas publicações coexistiram. Através da análise comparativa com a cobertura ao cinema de Hollywood, traçamos os paralelos da configuração do estrelismo brasileiro, com especial atenção às estratégias de legitimação do sistema para aumentar o interesse dos leitores e às peculiaridades da crítica em lidar com o star system. / This dissertation has by finality the study of the journalistic coverage to the brazilian cinema during the fifties in two fan magazines: A Cena Muda (1921-1955) and Cinelândia (1952-1967) to assess the structure of the critic cinematograph and their role as producer of brazilian star system. The material analysis of our study assembles the years of 1952 to 1955, only period in which both publications coexisted. Through the comparative analysis with the coverage of the Hollywood cinema, we draw the parallel with the configurations of brazilian star system, with special interest to the system legitimacy strategies to increase the readers interest and to the peculiarities of the critic to handle with the star system.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-30T14:48:59Z No. of bitstreams: 2 Tese - Luís César de Souza - 2014.pdf: 1481655 bytes, checksum: f4e72c8a00a5fbaddf7feef5e909b2e4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-10-30T14:49:39Z (GMT) No. of bitstreams: 2 Tese - Luís César de Souza - 2014.pdf: 1481655 bytes, checksum: f4e72c8a00a5fbaddf7feef5e909b2e4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-30T14:49:39Z (GMT). No. of bitstreams: 2 Tese - Luís César de Souza - 2014.pdf: 1481655 bytes, checksum: f4e72c8a00a5fbaddf7feef5e909b2e4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-08-25 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Attributed to organized fan clubs, the violence in soccer matches has been regularly and widely broadcasted by the media, however, this debate is laden with controversies about the responsibility of those scuffles, their motivations and authorships. In view of this, the theme whose reflections of this thesis are developed upon, are the mediations – the apparent and non apparent ones – that are established between the actions of organized soccer fans, the violence in football-entertainment produced by the cultural industry and contemporary society. Our broader objective was to realize some motivations for violence in soccer matches from organized football fan clubs’ demonstrations of the three most prominent teams in the State of Goiás: Atlético Clube Goianiense, Goiás Esporte Clube e Vila Nova Futebol Clube. Major studies on the phenomenon indicate that the violence can’t be observed as “from” soccer, but "in" soccer matches. However, from a critical theory of the Frankfurt School's society, particularly on the reflections of H. Marcuse, T. W. Adorno e M. Horkheimer, we argue that violence has a social cause, it finds relations on the individual, therefore, it’s dependent on the social context and gets a new meaning due the subjective dynamics. As violence in soccer matches and scuffles between organized fans are the obvious aspect of this phenomenon, we consider them as the "starting point". We fell back upon the empirical research to follow up the role that those organized fan clubs play in the expansion of violence and to understand how the main subjects involved in this process realize the phenomenon. We have observed matches of those three teams in state and national competitions; we’ve interviewed presidents, directors, members and former members of organized fan clubs, club officers, people in charge of the stadium security; television media workers, and a questionnaire was applied to the more organic members of those fan clubs. Among the main discussion, we highlight, in broad scenery, the intensification of soccer as an article of trade in the age of media spectacle, shaping a scenario of cultural soccer industry, and the formation of individuality in those administered societies that seem to be more available to belong to clusters of people. Specifically, we highlight the conflicts of organized fan clubs with the police and the media, the manifestation of hypothetically uncontrollable feelings, the revelation that the scuffles are tolerated under certain circumstances and the emphasis on that the violence in soccer matches is due to a minority of criminals infiltrated in fan clubs, reason why the repression and punishment were the most remembered actions to fight it – to the detriment of cultural background or structural inequalities stimulated by the current social production style. As a "finish point", we have sought the contradictions hidden behind the motivations and justifications for the scuffles and we emphasize the fundamental role of the education as a counterpoint to violence and barbarism. This thesis was supervised by the teacher Ph.D. Sílvia Rosa Silva Zanolla and developed in the research line of Culture and Educational Processes of Doctorate in Education at the UFG – Universidade Federal de Goiás. / A violência no futebol atribuída às torcidas organizadas tem sido recorrente e amplamente divulgada pelos meios de comunicação, todavia, esse debate é carregado de controvérsias sobre a responsabilidade dos confrontos, suas motivações e autorias. Diante disso, o tema em torno do qual as reflexões desta tese se desenvolvem são as mediações – perceptíveis e não evidentes – que se estabelecem entre as ações de torcedores organizados, a violência no futebol espetáculo produzido pela indústria cultural e a sociedade contemporânea. Nosso objetivo mais amplo foi compreender algumas motivações da violência no futebol a partir das manifestações de torcedores organizados dos três times de maior destaque em Goiás: Atlético Clube Goianiense, Goiás Esporte Clube e Vila Nova Futebol Clube. Os principais estudos sobre o fenômeno assinalam que a violência não pode ser considerada como “do” futebol, mas “no” futebol. Contudo, a partir da teoria crítica da sociedade da Escola de Frankfurt, sobretudo pelas reflexões de H. Marcuse, T. W. Adorno e M. Horkheimer, argumentamos que se a violência tem uma causa social, ela encontra correspondência no indivíduo, sendo, portanto, tributária do contexto social objetivo e ressignificada pela dinâmica subjetiva. Como a violência no futebol e os confrontos entre torcedores organizados constituem a face evidente do fenômeno, os consideramos como “ponto de partida”. Recorremos à investigação empírica para acompanhar o papel que as torcidas organizadas desempenham na ampliação da violência e entender como os principais sujeitos envolvidos nesse processo percebem o fenômeno. Observamos jogos em competições estadual e nacional dos três times; entrevistamos presidentes, diretores, membros e ex-membros das torcidas organizadas; dirigentes de clubes; responsáveis pela segurança no estádio; profissionais da mídia televisiva; além do uso de questionário com os membros mais orgânicos dessas torcidas. Entre as principais discussões, destacamos, num plano amplo, a intensificação do futebol como mercadoria na era do espetáculo midiático, configurando um cenário de indústria cultural do futebol, e a formação da individualidade nas sociedades administradas que se mostra mais disponível para pertencer a agrupamentos de massa. De modo específico, ressaltamos os conflitos dos torcedores organizados com a polícia e com a mídia, a manifestação de sentimentos supostamente incontroláveis, a revelação de que os confrontos são tolerados sob certas circunstâncias e a ênfase no argumento de que a violência no futebol se deve a uma minoria de criminosos infiltrados nas torcidas, motivo pelo qual a repressão e a punição foram as medidas mais lembradas para combatê-la – em detrimento da formação cultural ou das desigualdades estruturais engendradas pelo modo de produção social vigente. Como “ponto de chegada”, procuramos pelas contradições que se escondem por trás das motivações e justificativas para os confrontos e ressaltamos o papel fundamental da educação como contraponto à violência e à barbárie. Esta tese foi orientada pela Profª. Drª. Sílvia Rosa Silva Zanolla e desenvolvida na linha de pesquisa Cultura e Processos Educativos do Doutorado em Educação da Universidade Federal de Goiás.

Résumé : La réduction du bruit tonal des ventilateurs basse vitesse est un défi très important pour l’industrie. Lorsqu’il émerge du bruit large bande, ce rayonnement est la source de gênes auprès de la population, que ce soit pour de petits ventilateurs d’ordinateurs ou de gros ventilateur miniers. Afin de contrôler le bruit tonal, de nombreuses techniques ont été développées au fil de ces dernières décennies. Une méthode alliant simplicité et efficacité se démarque néanmoins : le contrôle par obstruction de l’écoulement. Malgré les études menées jusqu’alors, les mécanismes aéroacoustiques de réduction du bruit associés à cette méthode restent mal compris. Pour répondre à cette problématique, ce projet de Doctorat s’intéresse à l’étude de l’intéraction entre l’obstruction et le ventilateur au moyen de simulations aéro-acoustiques. De plus, une méthodologie numérique de design de l’obstruction est proposée afin de réduire les coûts associés aux multiples test expérimentaux. / Abstract : Tonal noise radiated by low-speed fans is a prime challenge for many industries. When this component emerges from the broadband noise, the acoustic radiation is particularly harsh for the human ear, whether it comes from a small computer cooling fan or from a large mine ventilation fan. Several methods have been developed over the last decades to control tonal noise. Nevertheless, one simple and efficient technique stands out: the adaptive passive control with flow obstruction. Despite all the research conducted on this method, the aeroacoustic mechanisms responsible for the noise reduction are not fully understood. Therefore, the present thesis aims at investing the obstruction-fan interaction using aeroacoustic simulations. Moreover, a numerical design methodology is proposed to reduce the cost induced by extensive experimental tests.

De nos jours souvent kitsch et touristique, l’éventail européen -fragile objet féminin associé à la mode- a été mal apprécié et reste méconnu. Construite pour cette thèse à partir de collections publiques ou privées et de ventes publiques, une base de données éclectique permet, par une approche statistique, d’interroger 2350 objets et d’en étudier principalement les sujets au cours d’un très long XVIIIe siècle. Une vingtaine de monographies focalise le regard sur des éventails des diverses catégories déterminées. À travers le dialogue entre statistiques et monographies, éclairé par l’observation de l’art et de la société contemporains, l’éventail apparaît reflet de l’art via les mythes, l’histoire sainte ou ancienne, la peinture morale… ; mais il est aussi témoin voire acteur de la vie sociale, politique, théâtrale, jusqu’à être mis au service de projets économiques ou de la caricature. Éventails « sans histoire », ornés de « bergerades », reflets de la mode ou supports des amusements de société : tous sont porteurs de sens. Ce sens a longtemps été occulté à cause des transformations sociales du XIXe siècle, peut-être aussi car les éventails pouvaient à l’origine être un espace de liberté et de pouvoir des femmes - voire de libertinage ?-. En effet cet objet d’art à la fois public et privé tient, par les sujets qui l’ornent, un véritable discours (largement lié au mariage mais aussi à l’amour) dont la femme était à la fois destinataire et locutrice. Il convient, en étudiant les objets, d’apprendre à en déchiffrer les messages : leur compréhension pourrait être utile à diverses disciplines. / Nowadays fans are often kitsch and for tourists. Associated with fashion, these fragile feminine objects have been misjudged and remain unknown. Built for this thesis from public and private collections and public sales, an eclectic database is capable, thanks to a statistical approach, to query and study 2350 items. This study deals mainly with the topics on fan leaves during a very long Eighteenth Century. Twenty monographs are focusing on objects of the various determined categories. Statistics and monographs, informed by the observation of contemporary art and society, enter into dialogue. The Fan appears as a reflection of art through myths, sacred and ancient history, and morality painting. But it is also a witness or an actor in the social, political, and theatrical life, and even used for promoting economic projects or for caricature. Almost all fans carry a meaning, even those "without history", adorned with pastoral scenes, seemingly only mirrors of fashion or occasions of entertainment. This meaning has long been obscured because of the social transformations of the Nineteenth Century, perhaps for the reason that fans were originally an area of freedom and power of women - even going to libertinism? - For this objet d’art, both public and private, speaks, through the subjects that adorn it, a real speech (largely related to marriage but to love as well). Woman was both recipient and speaker. Studying these objects and learning to decipher their messages would improve their understanding and benefit various disciplines.

The noise (unwanted sound) from fans of all sizes, operating in close proximity to people, can be a design constraint due to annoyance or, in the worse cases, health damage. Of the total noise, aeroacoustic noise - produced by unsteadiness in the air - often represents a significant source and is intrinsically linked to the aerodynamic features of the flow field. In this work, the aeroacoustics of low-speed fans are investigated using a compact mixed-flow fan as a test case. The low-speed regime is less developed compared to large-scale, high-speed machines and is increasingly relevant to applications such as micro air vehicles, small wind turbines, and other environmental comfort technologies found in buildings or vehicles. The test case fan Reynolds number is of the order of 104 which is a couple of orders lower than those generally found in gas turbines. Its main sources are therefore best identified experimentally in the absence of proven alternative methods. In order to do this, a way of quantifying fan noise is developed in tandem with control of the aerodynamic operating point. Following a study of sources of the significant broadband and tonal noise, a low-order noise prediction scheme is developed and applied to predict tonal noise with reference to Reynolds number effects. The new, duct-based rig and method has several advantages over the existing sound power measurement rig built to the ISO 5136 standard at Dyson. The approach, which makes no assumptions about the relative power of different modes, has resulted in a rig that is much shorter. Unlike the ISO rig, it is capable of accurate narrow-band tone measurements with sources which excite strong non-plane-wave duct modes (as the modal structure of the sound is determined) for the frequencies of interest. Tests have been carried out at different operating points with a range of geometry modifications produced with 3D printing techniques. In terms of tonal sources which particularly impact sound quality, the mixed-flow impeller alone produces tones due to very high sensitivity to inflow distortion of the mean flow (giving unsteady blade loading). This means that the product inlet must be designed very carefully to optimally condition the flow. Periodicity in the impeller outlet flow produces rotor-stator interaction tones even with a number of guide vanes chosen to satisfy the Tyler-Sofrin theory cut-off criteria. This is thought to be due to abrupt radius change after the guide vanes in the rig (while the theory assumes constant radius). In the product, abrupt radius change also occurs. The sensitivity of the broadband level to inflow turbulence was confirmed to be low in the rig, although the in-product inflow appears much less ideal. The main broadband noise source in rig tests is suggested to be impeller self-noise as only small reductions in rotor-stator interaction noise are achieved with far fewer vanes. The low-order modelling scheme to understand the fundamental unsteady loading noise mechanism compares well to experiments for sample rotor-stator interaction tones. The velocity fluctuations which induce this noise, measured experimentally with a 2D hotwire, are shown to increase in intensity as Reynolds number is reduced towards 104. This is due to a higher importance of viscosity which can give boundary layers that are thicker and liable to laminar separation. Surface treatments such as boundary layer trips could be used to prevent such separation and potentially reduce noise. Based on the thesis findings, further tests, simulations and possible design modifications are suggested to understand and reduce the important noise sources.

Dans le contexte actuel de globalisation et de développement des nouvelles technologies, notamment internet, les modes d’appropriation des œuvres culturelles sont devenus de plus en plus faciles mais aussi variés et complexes. Cette thèse traite des modes d’appropriation des films français en Chine, et étudie trois terrains de recherche : les sous-forums des films Le Fabuleux destin d’Amélie Poulain et de La grande vadrouille sur Tieba et le sous-forum des Cahiers du cinéma sur Douban. Nous avons étudié deux types principaux des passionnés culturels : fan et amateur. Le premier est souvent lié aux films grand public. Les fans manifestent une série de caractéristiques dans l’appropriation des films : l’engouement pour leur objet culte, le désir de partager et de communiquer, créativité, collectivité, etc. Le film peut intervenir directement dans leur vie quotidienne à travers l’imitation et la copie des éléments ou des personages. Lorsqu’on parle des films d’auteur, nous avons trouvé que le terme « amateur » est plus approprié pour déterminer leurs publics. Ils déclarent souvent leur admiration d’une manière plus ‘discrète’. Ils s’intéressent souvent plus aux idées des réalisateurs ou aux techniques de la production du film qu’aux acteurs ou personnages du films et possèdent généralement de bonnes connaissances dans le domaine culturel. Voir les films d’auteur est aussi un moyen pour eux d’accumuler les capitaux culturels. Les deux postures ne sont pas conflictuelles. Certains amateurs construisent aussi des communauté et cherchent à partager et communiquer avec les gens qui ont les mêmes passions qu’eux. Cette complexité est encore plus évidente dans le cadre international. D’un certain point de vue, le visionnement des films français est devenu un acte distinctif pour certains publics chinois. Et l’appropriation des films français peut satisfaire un désir d’être plus ‘cultivés’. Ce travail vise à ouvrir de nouvelles perspectives dans les recherches sur l’appropriation des oeuvres culturelles. / In the current context of globalization and the development of new technologies, especially the internet, the modes of appropriation of cultural works have become easier but also more varied and complex. This thesis discusses the modes of appropriation of french films in China by studying on three areas of research: the subforums of Le fabuleux destin d'Amelie Poulain and La grande vadrouille on Tieba, and the subforum of Cahiers du cinema on Douban. We studied two main types of cultural enthusiasts: fan and amateur. The first is often linked to the popular films. The fans show a series of characteristics in the appropriation of movies: the passion for their cult object, the desire to share and communicate creativity, community, etc. The film can be directly involved in their daily lives through the imitation of elements or personages in the film. When we talk about “auteur cinema”, we found that the term "amateur" is more appropriate to determine their audiences. They often express their admiration in a more discrete way. For example, they are often more interested in the ideas of directors or the technical of production of the films than in the actors or characters. They usually have good knowledge in the cultural field: literature, film or art. Seeing the “auteur movies” is also a way for them to accumulate cultural capital. However, the two positions are not in conflict. Some ‘amateurs” also show a community which is manifested in their collective communications. This complexity is even more evident in the international background. In some ways, viewing the french movies has become a distinctive act for certain chinese audiences. So the appropriation of french films satisfy a desire to be more 'cultivated'. This work aims to open up some new perspectives in the research on the appropriation of cultural works.