Le présent travail développe des outils de modélisation de moyens de contrôle passifs et actifs destinés à répondre à certains problèmes de bruit. La première partie étudie les propriétés acoustiques de stratifiés viscoélastiques en contact avec un fluide pour mettre en évidence leurs propriétés d'atténuation et d'isolation. Ils peuvent être utilisés en revêtement d'une structure créatrice de bruit pour limiter l'énergie acoustique transmise dans une zone à protéger. La seconde partie est destinée à créer un outil de calcul général qui permette de déterminer avec précision le rayonnement et la diffraction d'ondes acoustiques par un obstacle élastique ou rigide. La modélisation est fondée sur une méthode d'équation intégrale couplée à un code d'éléments finis industriel (SAMCEF). Dans le cas particulier d'un mur antibruit infiniment long, de section constante, un outil spécifique est développé pour accéder, avec un coût en calcul réaliste, au champ de pression tridimensionnel au voisinage de l'écran. Cela permet par exemple de calculer l'effet d'atténuation en présence d'une excitation produite par une ligne de sources incohérentes. La dernière partie se consacre à des simulations d'efficacité de dispositifs de contrôle actif. En superposant les champs de pression créés par des sources primaires et secondaires nous pouvons calculer la réduction de bruit dans un domaine de l'espace pour des excitations harmoniques ou aléatoires stationnaires. L'étude des paramètres du problème tels que la disposition des sources ou la longueur des filtres montre qu'une modélisation peut apporter un gain important par rapport à une approche purement orientée vers le traitement du signal.

This Diploma Thesis analyzes crucial works of the Czech and global literary art of the 20th and the 21st century. Jan Balabán's Zeptej se táty (Ask the Daddy), Emil Hakl's Pravidla směšného chování (Etiquette of Ridiculousness), Son of the Regiment by Valentin Katajev, Kerouac's On the Road, Stříbrný vítr (Silver Wind) by Fráňa Šrámek, Letter to His Father by Franz Kafka and The Road by Cormac McCarthy are all analyzed in terms of theme of sonhood. Similarities and differences are both covered. Relation of sonhood, authority and god is crucial, as well as the change of the whole concept of father - son relationship which occurred in the 20th century. The author of the thesis tries to postulate questions concerning sonhood, which in his opinion should the mankind be asking. Yet it is not his ambition to offer resolute and firm answers. The essay is entwined with an autobiographic prose which completes the analytical part in a refreshing way. Both genres contribute to the final outcome, which is a synthesis offering the possibility of grasping theme of sonhood from a brand new perspective, as sonhood is also the main motif of the prosaic part. Main character, the author of the diploma thesis, is dealing with his relationship to his father, and more importantly his father's relationship to his father, i. e....

Doctor of Philosophy / Department of Economics / Dong Li / Wayne Nafziger / The dissertation includes three essays on development and regional economics. Son preference prevails among Indian couples. I test the hypothesis that women who bear sons experience an elevated status within the household, which translates into their increased role in decision-making. The first essay empirically examines the issue. Using data from the Indian Human Development Survey, I find that women who have given birth to at least one son show greater participation in the household’s financial decisions as well as other decisions in a household. Presence of a senior member in the household, however, reduces the women’s relative household bargaining strength. The second essay examines the wage differentials of natives, naturalized citizens, and immigrants on the basis of gender, and for the latter two categories, on the basis of region of origin. This paper argues that the assimilation effect for naturalized citizens should be stronger than that for immigrants since a naturalized citizen, on an average, spends more than 15 years in the country, much higher than immigrants. I find that immigrants experience higher increase in wages than naturalized citizens with longer stay in the United States. The essay concludes that this trend in wages cannot be explained by the assimilation argument alone. We also report that naturalized citizens command higher returns to higher education than immigrants. The third essay explores issues in regional economics. Kansas has the third largest public highway miles and one of the highest miles per person in the country. Due to declining rural population, counties lack the required tax base and fiscal health to support their large ailing rural road infrastructure. The average farm size is increasing and so is the size of vehicles using the rural roads. This paper suggests removing some rural low volume roads from the county road network as one option. I study three Kansas counties to analyze the cost-benefit of reducing low volume road miles. I find that rural counties will be able to save money by closing some low volume roads.

Ma recherche dans le cadre de SACRe a pour but de démontrer et faire agir – de façonconsciente et organique – dans le travail du plateau, la similarité des modes de perception etstructuration du temps dans la musique et dans le théâtre et proposer, à partir de cette relation,une base solide et un langage commun au travail de l’acteur, du musicien, du performeur et dumetteur en scène.Mes travaux porteront essentiellement sur la dimension sonore et l'approche musicale du théâtre(écoute, rythme, ligne mélodique, harmonie, contrepoint) aussi bien en ce qui concernel'investigation et interprétation du texte qu'au niveau de la dynamique et des mouvementsscéniques. Il s’agir de mettre en évidence, au moyen de multiples expérimentations déclinant lesdifférentes possibilités offertes par la scène, la nature essentiellement musicale – notamment ence qui concerne le rapport temps-rythme et l’harmonie « chorale » – des principes structurantl’organisation et l’accomplissement du phénomène théâtral.Prenant la musicalité comme base du travail de l'acteur et de la construction scénique, il s'agirade décliner, au fil des différents travaux et expérimentations pratiques, la notion/dispositif dechoralité. La polyphonie m'intéresse énormément, le mélange de timbres, de couleurs,d'harmoniques... même quand il ne sera pas nécessairement question de « notes musicales » àproprement parler.La voix est au centre de cette recherche. La gamme très vaste de possibilités sonores etexpressives que peut produire notre appareil phonateur – qui se multiplie encore à l’infiniquant on combine les sons produits par plusieurs personnes vocalisant ensemble – est uneporte grande ouverte à la création : c’est de la matière poétique concrète, malléable,élastique, transformable. Que ce soit la voix parlée, le cri, le rire, lechant lyrique, traditionnel, populaire ou expérimental, sa relation et l’engagement qu’elleentraîne avec le corps en mouvement : tout ce monde m’intéresse et m’inspire. C’estl’univers dans lequel je compte travailler et créer en tant qu’interprète, compositeur,enseignant, chef de chœur, performeur, comédien ou metteur en scène.Penser, explorer e potentialiser la musique - ou, plus largement, la notion bien plus vaste demusicalité - comme matière-première « concrète », indissociable du travail de l’acteur, inscriteau présent de la scène e du jeu, tel est le but de ce projet de recherche. Bien plus qu’un ensemble de codes et compétences formelles ou académiques dépendantes d’une seule voied’acquisition possible – à savoir, la notation musicale occidentale – l’approche musicale, dansson essence, se relie à un processus beaucoup plus intuitif et immédiat. Surtout lorsqu’onconstate, en effaçant les frontières (actuelles) entre les arts, que la musique a toujours été (et ledemeure) associée à l’action scénique. Rythme, dynamique, tempo, phrasé et harmonie, parexemple, sont des concepts directement applicables aussi bien à la pratique musicale qu’à celledu théâtre, même lorsque ce dernier ne se sert pas de partitions et œuvres musicales entenduescomme tel. / The aim of my research is to demonstrate and put in action on stage - in a conscious and organic way - the similarity of perception and structuring of time in music and theater and propose, from this relation, a solid foundation and a common language for the work of the actor, the musician, the performer and the director.My work will focus on the sound dimension and the musical approach of the theater (listening, rhythm, melodic line, harmony, counterpoint) both in terms of the investigation and interpretation of the text and the dynamics and movements of the scene. The aim is to highlight, by means of multiple experiments that reveal the different possibilities offered by the scene, the essentially musical nature - in particular as regards time-rhythm and "choral" harmony - of the principles structuring organization and accomplishment of the theatrical phenomenon.Taking musicality as the basis of the work of the actor and the stage construction, it will be necessary to decline, through the various practical experiments, the notion/device of chorality. Polyphony interests specifically this work and the mixture of timbres, colors, harmonics, even when it will not necessarily be a question of "musical notes" strictly speaking.Voice is at the center of this research. The wide range of sonorous and expressive possibilities our phoning apparatus can produce - which is multiplied infinitely as we combine the sounds produced by several people vocalizing together - is a door wide open to creation: it is the poetic matter concrete, malleable, elastic, transformable. Whether it is spoken voice, cry, laughter, lyrical, traditional, popular or experimental song, its relationship and the commitment it brings with the body in motion: all this world interests and inspires me. This is the universe in which I intend to work and create as an interpreter, composer, teacher, choirmaster, performer, actor or director.Thinking, exploring and potentiating music - or rather the much broader notion of musicality - as a "concrete" material, inseparable from the work of the actor, inscribed in the present of the scene and the game, that is the purpose of this research project. Much more than a set of formal or academic codes and competences depending on a single possible path of acquisition - namely, Western musical notation - the musical approach, in essence, connects to a much more Intuitive and immediate process. Especially when one notices, by effacing the (current) borders between the arts, that music has always been (and remains) associated with scenic action. Rhythm, dynamics, tempo, phrasing and harmony, for example, are concepts directly applicable to musical practice as well as to theater, even when the latter does not use musical scores and works understood as such.

This collection of poetry explores the intersection of elegy and ekphrasis. The poems contemplate and take inspiration from a range of painters and artists, often as a way of thinking about themes of invention, technology, and both father/son and teacher/student relationships.

Latino males have come to be an “invisible” populace that is underrepresented in higher education (Saenz & Ponjuan, The vanishing Latino male in higher education, 2009). Previous research has addressed the causes for why Latino males are declining and not persisting in college (Harper, (Re)setting the agenda for college men of color: Lessons learned from a 15-year movement to improve Black male student success, 2014; Saenz & Ponjuan, The vanishing Latino male in higher education, 2009). However, scholars who have studied this subject concluded this is a multifaceted concern that needs to be understood in more depth. Latino males are struggling to keep up with their male and female peers at crucial transition points of the education pipeline (Saenz & Ponjuan, The vanishing Latino male in higher education, 2009). The plight of Latino males continues to be a challenging educational issue, which is magnified by the neglect of policy makers, educators, and leaders in higher education who continue to overlook the unique socioeconomic and cultural characteristics surrounding the Latino male experiences in postsecondary education (Noguera & Hurtado, 2012). The problem that this study addresses is the truncated college completion rates among Latino males of Mexican ancestry and the persistent problem of the increasing gender gap and underrepresentation of Latino male student’s graduation rates. This narrative inquiry examined the cultural concepts of familismo and the “good son dilemma” as they relate to the college experience of Latino students which thereby informs a deeper understanding of the experiences that facilitate successful academic achievement of Latino male students of Mexican ancestry. Secondly, this study aimed to highlight the voices of Latino male students of Mexican ancestry, who have navigated through the educational system and graduated from a four-year higher education institution.

<p>The present study examines six young men’s, born in the 1980’s, experiences of their relationships with their fathers. The focus of the study lies on the son’s evaluations of their fathers’ influence on them, the men’s emotional language and the experience of the fathers’ presence versus absence. The relationship with the fathers and the fathers’ emotionality are also being discussed. The method used is semistructured interview. The interviews lasted circa 40 minutes. The results show that half of the men experienced their fathers as present during their childhoods and half, as absent. This shows a more present father than previous studies have shown. All the interviewed men feel that their fathers have influenced them in some way, either positively, negatively or both. This result differs from a previous study which shows a primarily negative influence of the father. A majority of the men experiences their fathers’ emotionality to be similar to the male stereotype. Anger is prominent, whereas sadness is a less prominet emotion of the fathers’. The results further showed that the men in the present study verbally expresses emotions mainly through distansing constructions.</p><p>Keywords: Fatherhood, Father Son relationship, men´s emotional language, men’s emotions</p>

The present study examines six young men’s, born in the 1980’s, experiences of their relationships with their fathers. The focus of the study lies on the son’s evaluations of their fathers’ influence on them, the men’s emotional language and the experience of the fathers’ presence versus absence. The relationship with the fathers and the fathers’ emotionality are also being discussed. The method used is semistructured interview. The interviews lasted circa 40 minutes. The results show that half of the men experienced their fathers as present during their childhoods and half, as absent. This shows a more present father than previous studies have shown. All the interviewed men feel that their fathers have influenced them in some way, either positively, negatively or both. This result differs from a previous study which shows a primarily negative influence of the father. A majority of the men experiences their fathers’ emotionality to be similar to the male stereotype. Anger is prominent, whereas sadness is a less prominet emotion of the fathers’. The results further showed that the men in the present study verbally expresses emotions mainly through distansing constructions. Keywords: Fatherhood, Father Son relationship, men´s emotional language, men’s emotions

Denna uppsats handlar om hur jag arbetat med att ta fram två spelbara karaktärer, en så historiskt korrekt samuraj som möjligt och en 2-årig pojke, som skulle kunna vara hans son. Båda ska uppfylla kraven för nästa generations dataspel. Jag har skrivit om arbetsprocessen, och om de svårigheter jag stött på. De flesta problemen har jag lyckats lösa, men några har jag valt att kringgå. Det finns också en reflekterande text, som tar upp det allmänna intresset just nu för japansk kultur och historia, och där jag bl a försöker förklara varför jag valt att skapa dessa två karaktärer. Den frågeställning som jag anser mig ha fått svar på är vad det innebär att skapa två relativt olika karaktärer med hjälp av programmen Maya och ZBrush. Framför allt har jag blivit väl bekant med ZBrush, där jag utnyttjat möjligheten att göra textureringen i 3D (polypainting), i stället för att på traditionellt sätt arbeta i 2D med Photoshop. Jag är nöjd med slutresultatet och hoppas att det kan inspirera andra, samtidigt som det finns en del att lära av de svårigheter jag stött på på vägen.

This thesis analyzes James Baldwin's essays as a method for understanding racial identity and authenticity. By using Vetta Sanders-Thompson's racial identification parameters, I suggest that Baldwin's struggle with his identity as a black American is crucial to deposing the idea of a monolithic black experience, which opens up new ways of analyzing African American literature.