Ce mémoire de thèse est composé de deux parties. La première présente les récents résultats concernant les gaz de Bose bidimensionnels (2D). Dans un gaz de Bose 2D homogène avec interactions, malgré l'absence de condensat de Bose-Einstein à température non nulle, une transition entre une phase normale et une phase superfluide a été prédite par Berezinskii, Kosterlitz et Thouless. Notre expérience a consisté à étudier cette transition pour un gaz d'atomes dans un piège harmonique. Pour cela, nous avons coupé un condensat de Bose-Einstein tridimensionnel en deux nuages 2D indépendants. Nous avons étudié à la fois la perte de la quasi-cohérence du système au dessus d'une température critique et la prolifération de vortex libres issus de la brisure des paires vortex/antivortex présentes dans la phase quasi-cohérente. La coïncidence entre ces deux phénomènes est typique de la transition prévue par Kosterlitz et Thouless. La seconde partie concerne la conception et la réalisation d'une nouvelle expérience de condensation de Bose-Einstein. Les dix années d'expérience depuis la création du premier condensat d'atomes froids ont été mises à profit pour construire un montage simple et robuste. La particularité principale de ce montage est la mise en œuvre d'un transport magnétique permettant aux atomes de voyager entre deux chambres distinctes, la seconde autorisant un excellent accès optique.

This essay attempts to propose an art practice based on an ethical and aesthetic relation of author, subject, and viewer. This relationship is productive of results that are seen as critical to a precise, useful, and ethical representation of social problems. / text

Most previous studies of Soviet montage cinema have concentrated on its aesthetic and technical aspects; however, montage cinema was essentially a rhetoric rather than an aesthetic of cinema. This thesis presents a comparative study of the leading montage film-makers – Kuleshov, Pudovkin, Eisenstein and Vertov – comparing and contrasting the differing methods by which they used cinema to exert a rhetorical effect on the spectator for the purposes of political propaganda. The definitions of propaganda in general use in the study of Soviet montage cinema are too narrowly restrictive and a more nuanced definition is clearly needed. Furthermore, the role of the spectator in constituting the rhetorical effectivity of a montage film has been neglected; a psychoanalytic model of the way in which the filmic text can trigger a change in the spectator’s psyche is required. Moreover, the ideology of the Soviet montage films is generally assumed to exist only in their content, whereas in classical cinema ideology also operates at the level of the enunciation of the filmic text itself. The extent to which this is also true for Soviet montage cinema should be investigated. I have analysed the interaction between montage films and their spectators from multiple perspectives, using several distinct but complementary theoretical approaches, including recent theories of propaganda, a psychoanalytic model of rhetoric, Lacanian psychoanalysis and the theory of the system of the suture, and Peircean semiotics. These different theoretical approaches, while having distinct conceptual bases, work together to build a new and consistent picture of montage cinema as a propaganda medium and as a form of political rhetoric. I have been able to classify the films of Kuleshov, Eisenstein and Pudovkin as transactive, vertical agitation propaganda and the films of Vertov as transactive, horizontal agitation propaganda. Furthermore, I show that montage cinema embeds ideology in the enunciation of its filmic text, but differs from classical cinema in trying to subvert the suturing process. I conclude that Vertov at least partly created a non-representational cinematography and that he could be regarded as being at least as much a Suprematist film-maker as a Constructivist one.

Dans Les détectives sauvages, Respiration artificielle et Les Soldats de Salamine, Bolaño, Piglia et Cercas mettent en avant trois questions que nous traitons dans cette étude: 1. Le roman est un objet historique, en tant que document et en tant que dispositif du discours. 2. L'écriture de fiction, l'écriture romanesque, la fabrication des romans ne peut se faire sans recourir à la mémoire. 3. La relation conflictuelle entre réel et fiction constitue le terrain de développement du récit contemporain. Le premier chapitre part d'une réflexion sur le rapport entre littérature et Histoire en Amérique Latine et en Espagne ; suit une réflexion sur le concept d'Histoire et le rôle de l'historien dans la littérature, une étude sur les rapports entre le narrateur et l'objet de sa narration, et finalement une analyse sur la littérature en tant que transgression. Dans le deuxième chapitre nous traitons la notion de mémoire en relation avec l'imaginaire ; les notions de durée et d'image chez Platon, Aristote, Freud, Bergson et Ricœur sont à la base de cette analyse. Suit une analyse sur les tensions entre écriture, souvenir et imagination. Nous nous occupons du document et de la fiction en étudiant le rôle des personnages écrivains, de la mémoire en tant qu'imagination, et sur le rapport entre le corps et la mémoire dans l'écriture chez les trois auteurs. Le troisième chapitre pose la question d'une nouvelle poétique de la fiction par une étude sur la notion d'ostranenie de Brecht, ainsi que sur les limites de l'écriture de fiction à travers les notions d'origine, de l'infini, de l'insuffisant, et du dissemblable -- celle-ci par une lecture comparée avec les travaux de Didi-Huberman. Pour finir, une réflexion sur les notions de local, d'universel, du récit manqué, et de l'inutilité de la littérature. Toutes ces notions sont traitées par des analyses ponctuelles des trois romans étudiés.

The thesis attempts at providing a critical evaluation of the city as the mythological site of modernity. For that purpose, highlighting such special nature of the urban context as it finds expression by the cinematic medium, what is aimed at is the analysis of, first, the mythical dimensions of modern urban life as the prime site of enthusiasm and spirit with its fleeting impressions and changing images, secondly, the (re)creation of the city myth through cinema as an elaborate perceptive vehicle for a specific way of picturing and enframing the cityscape and, lastly the representation of the destruction of such myth. In this way, it will also be possible to point out concretely that the city experience of the modern individual simultaneously embodies fascination and horror, hope and despair. In order to explain the situation of the modern individual in the big city, Odysseus&rsquo / s encounter with mythological forces in ancient world are taken as a parable in the footsteps of Adorno and Horkheimer&rsquo / s allegoric interpretation of Homer&rsquo / s Odyssey. Specifically speaking, the cinematic representation of Istanbul-myth and the destruction of this myth in Turkish cinema of the nineties will be examined through three prominent examples in the light of the above theoretical considerations.

This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of 'cutting and splicing' to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social 'languages' that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory.

The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.

Universiẗat, Diss.--Konstanz, 1998.

Title from first page of PDF document. Includes bibliographical references (p. 20-22).

Made available in DSpace on 2016-06-02T20:44:11Z (GMT). No. of bitstreams: 1 4852.pdf: 1129647 bytes, checksum: 850dbd52c7c030d8a9a9c16b20580e60 (MD5) Previous issue date: 2013-02-15 / Universidade Federal de Minas Gerais / The aim of this study was to understand, from the experience of four young people who at some point in research called themselves transvestites , residing in São Carlos (SP), the main techniques and strategies used by them for the management and manipulation of their own characteristics regarding their body, subjectivity and identity, in order to participate in certain spaces of sociability, focusing on family contexts, formal education institutions and also prostitution. The work has been organized into four sections. Initially, it introduces an historical debate and academic production about the topic related to gender and sexuality, then it addresses entrance to the search field, from ethnographic contributions and, finally, to contextualize the territories where the research took place. The second section considers the multiplicity of ways to consider and to construct signs of what is considered feminine in bodies assigned as male. Additionally, it presents the history of each interlocutor of this research, trying to point out their unique experiences in these body, subjective and identity building processes. In the third section, we discuss the different techniques and strategies used by them to participate in different contexts such as family, school and prostitution, and how these relations are built depending on the persons involved, as well as their interests and desires. And lastly, contextualizes the propositions of social occupational therapy and its possible implications in everyday life of the individuals in their territories belonging, pointing out how the circulation of these young people in their territories have repercussions on the levels of insertion and restriction, allowing or not their existences in different spaces. It is believed that this dissertation contributes, beyond the multiplicity of forms of construction and understanding bodies, subjectivities and transvestites identities, with a dialogue among the possible links between social occupational therapy and circulation of individuals in their territories belonging. / O objetivo deste trabalho foi compreender, a partir da vivência com quatro jovens que em algum momento da pesquisa se autodenominaram travestis, residentes na cidade de São Carlos (SP), as principais técnicas e estratégias utilizadas por elas para o manejo e manipulação de suas próprias características corporais, subjetivas e identitárias, a fim de se inserirem em determinados espaços de sociabilidade, focalizando-se nos contextos familiares, de instituições formais de ensino e também de prostituição. Procurou-se organizar o trabalho em quatro seções. Na primeira, inicia-se uma contextualização histórica do debate e da produção acadêmica sobre a temática referente ao gênero e à sexualidade, em seguida apresenta-se a entrada em campo, a partir de contribuições etnográficas e, por último, contextualizam-se os territórios onde a pesquisa aconteceu. Na segunda seção, pondera-se a multiplicidade de formas de considerar e construir signos do que é considerado feminino em corpos assignados como masculinos. Além disso, apresenta-se a história de cada interlocutora desta pesquisa, tentando assinalar suas vivências singulares nestes processos de construção corporal, subjetiva e identitária. Na terceira seção, discute-se as diferentes técnicas e estratégias utilizadas por elas para se inserirem em diferentes contextos como família, escola e prostituição, e como estas relações são construídas a depender dos sujeitos envolvidos, bem como de seus interesses e desejos. E, por último, contextualiza-se as proposições da terapia ocupacional social e suas possíveis implicações na vida cotidiana dos sujeitos em seus territórios de pertencimento, apontando como a circulação destas jovens em seus territórios têm rebatimentos nos níveis de inserção e restrição, possibilitando ou não suas existências em diferentes espaços. Acredita-se que esta dissertação vem contribuir, para além da multiplicidade de formas de construção e compreensão dos corpos, subjetividades e identidades travestis, com um diálogo em meio às articulações possíveis entre terapia ocupacional social e a circulação dos sujeitos em seus territórios de pertencimento.