Les études portent sur les propriétés optiques de nanofils d’or individuels et de réseaux de nanofils d’or. Malgré ses avantages, comme une sensibilité moindre à l’oxydation et sa biocompatibilité, les nanofils en or ont été peu étudiés par comparaison avec les nanofils en argent ou semiconducteurs. Les études sur ces substrats ont été réalisées par spectroscopie Raman exaltée de surface (SERS). Le régime de la molécule unique est atteint, ce que j’ai démontré en utilisant deux molécules différentes de colorant, co-déposées. J’ai étudié la propagation des plasmons de surface dans les nanofils ainsi que son évolution en fonction de la longueur d’onde. Une distance de propagation de 3,8 µm a été observée, plus grande que les valeurs précédemment rapportées. Les réseaux de nanofils ont également été étudiés en combinant la réponse de deux molécules pour démêler les différents processus contribuant au signal de la diffusion Raman. Les résultats obtenus par des études en polarisation et en fonction de la longueur d’onde sur l’évolution de l’intensité du signal SERS ont été confrontés aux résultats de simulations réalisées par la méthode de l’approximation des dipôles discrets (DDA). La microscopie de champ proche optique à balayage (SNOM) a été mise en œuvre pour étudier les effets d’exaltation locale sur les réseaux de nanofils. Ces études ont été réalisées avec deux polarisations croisées et à deux longueurs d’onde différentes. L’originalité des études SNOM repose sur l’utilisation de deux modes différents d’éclairement. L’un est utilisé pour cartographier l’exaltation des champs électromagnétiques, l’autre pour étudier les effets de propagation des plasmons dans les nanofils. / We have reported the optical properties of isolated gold nanowires and of nanowire arrays. Despite the advantages gold has to offer as it is less sensitive to oxidation and as an biocompatible metal, it has been scarcely studied than silver or semiconductors nanowires. We have made surface enhanced Raman spectroscopic (SERS) studies on the isolated nanowires and nanowire arrays. Single molecule regime is attained and has been proven with the aid of two dye molecules that are co-deposited. The propagation of surface plasmons in these nanowires and their evolution with the excitation wavelength have been studied. We report a propagation distance of 3.8 µm which is longer than the values previously reported in literature. Nanowire arrays have been investigated with two dyes again to disentangle the various factors contributing to SERS. Polarization studies and the evolution of enhancement in the nanowires with the wavelength have been reported and explained with the aid of simulations obtained by the discrete dipole approximation (DDA). The scanning near field optical microscopy (SNOM) has been done to investigate the local field enhancements on the nanowire arrays. Two different polarizations and two excitation wavelengths have been used. The original idea of the technique includes the use of two illumination modes which serves two purposes. One, to map the regions of enhanced field and the other to study the propagation effects seen on the nanowire.

TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The first issue of TURNING PAGES features a range of texts and artworks, including first-time writers as well as professional writers, such as Michael Augustin, Sujata Bhatt, Stephen Collis, Ian Watson and the renowned Belfast theatre company Play It By Ear.

TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The second issue of TURNING PAGES includes a variety of foci, ranging from meta-poetic texts and stories, to graphic artworks and illustrations via themes of belonging in an ever-changing world, tracing one’s origins, conquering personal struggles, or dealing with current incidents like COVID-19 and self-isolation. This issue combines students from diverse fields and backgrounds with professional writers from all over the world, such as Srishti Chaudhary, Andreas Gloge, Ogaga Ifowodo, Harald Linke, and Ian Watson.

TURNING PAGES is an annual journal of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, poetry, and drama, as well as in drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university. TURNING PAGES can be read in both ways, literally and metaphorically, implying that we need to turn the pages, that we need to demonstrate that literature has something to say and that it can also be interventionist as it shows how we can use our own imagination for the better. Therefore, TURNING PAGES will make readers not only literally browse through a variety of texts and turn pages, but it also seeks to reflect situations, events, experiences, or emotions that turn the page for individuals, or groups of people. The third issue of TURNING PAGES is about facing and overcoming personal struggles as well as the challenges of the present time by venturing out into public life again, after months of isolation and standstill. A range of contributions by professional and published authors such as Shanta Acharya, Ranu Uniyal, Andreas Gloge and Tobias Schlosser, but also a selection of pictures by photographers such as Natalie Bleyl and Martina Gloge enhances and complements the multifaceted textual and graphic pieces by students and first-time writers.

Otto Pankoks (1893 - 1966) Kunstwerke können Heranwachsende in ihrer Erfahrungswelt noch immer ansprechen, da mit ihnen Bildwerke vorliegen, die in besonderer Weise Auskunft geben über die Geschichte Gottes mit den Menschen. Christliche Themen wie ″der wahre Mensch″, ″Liebe″, ″Leid″, ″das Böse″, ″Schuld″ und ″Sünde″ werden darin künstlerisch bearbeitet. Besonders seine Kohlebilder spiegeln persönliches Empfinden und christliches Weltbild in besonderer Authentizität. Sie sind aufgeladen mit zeitgeschichtlichem Erleben und dem Suchen nach verstehbaren Antworten. In ihnen lassen sich fünf Motivgruppen mit eindeutiger exegetischer und religionsdidaktischer Relevanz erkennen. Anhand 13 exemplarisch ausgewählter Bildbeispiele wird gezeigt, wie mit Otto Pankoks Bildwerken im Religionsunterricht kompetenzorientiert gearbeitet werden kann.

This thesis delineates a problem with researching and theorizing about craft. It argues that traditional epistemologies and academic conventions have not given sufficient recognition or value to the epistemologies and lived experiences of craft practitioners, and that they have served to obscure the centrality of practice to meaning. Consequently, there is a need to make craft practice and practitioners accounts more accessible to researchers. It proposes and tests a method using video recordings of practitioners working and interviews with practitioners in the loci of their practice as a tool, which, it is contended, provides a rich source of data about practice so that theory can be generated in a grounded way from practice. It is argued that the idea of 'the crafts' is a late twentieth-century construct, but it has its roots in an ideological and intellectual tradition, expressed in the writing of the nineteenth-century Arts and Crafts movement. That writing was primarily concerned with the organisation and ownership of labour, with the moral and social purpose of art, and with creativity, given expression through the making process. Since the 1970s, we have seen the emergence of a legitimizing infrastructure for 'the crafts' as a category, separate from but relating to art and design. The institutional craft world attempted to distance itself from Arts and Crafts ideology and from associations with the rural and the traditional. A key feature of the institutional discourse has been attempts to establish a definition of 'craft' as a singular thing within the sphere of its influence. The thesis argues that the problematic relationship between theory and practice stems partly from this disjunction between the institutional craft world and the ideological and intellectual heritage of William Morris and his followers. It demonstrates that data gathered using the method proposed could make a positive contribution to emergent discourses on craft as experience. Within the complexity of the data gathered using the proposed method, concepts and patterns are consistently observed. The subjects are seen to be engaged in self-determined activities which are nevertheless socially situated. They are using knowledge that is embodied and enacted, and which evolves through the practice. The data shifts the focus of critical attention from the objects that are being produced and onto the practice itself. This research method makes craft practices available to the researcher and opens up a critical focus on crafting as intrinsically rewarding activities that are facilitated by learned, embodied competence, based in shared values and standards.

Notre travail, qui centre la représentation symbolique des quatre éléments (terre, eau, air, feu), part de l' « imagination matérielle » de Bachelard en vue d'établir une réflexion équilibrée autour de dynamiques dramaturgiques et littéraires (particulièrement Hugo et Shakespeare) en amont des opéras de Verdi pou r déboucher sur l'analyse de ces derniers, d'un point de vue littéraire et musical. À partir de la mythographie des quatre éléments, diverses figures du temps émergent des livrets verdiens et livrent un parcours symbologique thématique. Ainsi, l'héroïne de La Traviata est confrontée au temps qui fuit, rendu évident par la frénésie musicale du rythme. Au carpe diem impatient s'oppose alors l'émergence de l'amour inévitablement lié à la linéarité du temps de la destinée. Les feux de la passion se distinguent d'une image aérienne de Violetta, qui glisse d'une joie à l'autre en développant un rapport à plusieurs éléments. De manière similaire, une reconstruction analytique de Un ballo in maschera prouve que les personnages demeurent impuissants et superflus face à l'inflexible destin. Le temps accélère ensuite de façon soudainedans Rigoletto au sein d'une image aquatique. Dans cette œuvre, un chronotope de la crise d'empreinte bakhtinien entre en jeu, provoquant un renversement de la direction temporelle et une précipitation du temps imagée dans le rythme hippique du galop. Le temps cristallisé dans Don Carlos dérive pour sa part de l'expérience amoureuse des protagonistes qui se réfugient dans un temps réitérable par le biais du souvenir tandis qu'un autre souvenir igné annonce un retour du temps destructeur dans Il Trovatore. Mais un deuxième régime temporel linéaire où le feu est dévorant prend également forme dans cette œuvre sombre, débouchant sur un mouvement aérien qui est une fuite à la condition terrestre révolue des personnages amoureux. Enfin, les symboles d'un temps dévastateur porteur de mort, dégagés par les ténèbres, sont observables dans Macbeth et Otello, sous-tendus par un même substrat shakespearien. Lemoment de la chute ultime du héros est venu. Comme si l'insoluble tragédie de la source shakespearienne rencontrait par ce biais le pessimisme et le doute artistique d'un Verdi arrivé désormais à maturité. / Our work focuses on the symbolic representation of the four elements (earth, water, air, fire) startingfrom Bachelard’s “material imagination” and leading us to reflect upon the dramatic and literary dynamics(from Hugo and Shakespeare especially) upstream of Verdi’s operas in order to analyze them from a bothliterary and musical point of view. From the mythography of the four elements different figurations oftime emerge from the Verdian libretti and allow a symbologic thematic reading.Thus, the Traviata’s heroin is confronted with tempus fugit epitomized by the frenetic musicalrhythm. The impatient carpe diem then contrasts with the advent of love inevitably linked to time’s fatefullinearity. Fires of passion distinguish themselves from the ethereal image of Violetta gliding from one joyto the other playing on a palette of several elements. Similarly, an analytical reconstruction of theBallo in mascherawill prove that the characters are powerless and superfluous in front of inflexible fate. Timethen suddenly speeds up in Rigolettoin the midst of water imagery.In this work, Bakhtin’s “chronotope ofcrisis” comes into play, causing a reversal of the temporal direction and a precipitation of the passing oftime embodied in the horse’ gallop-like concluding rhythm. The crystallized time inDon Carlosoriginatesfrom the lovers’ experience, who find refuge in the repeatable time of memory whereas another memory,infused with fire symbols heralds a return of the devastating time ofIl Trovatore. But a second temporalsystem, linear, where fire is devouring, takes shape in this darker work, leading eventually to an etherealmovement of the lovers’ escape from their already-gone terrestrial condition. Finally, the devastating timebrings forth death inMacbethandOtello, which share an underlying Shakespearean substrate. Thencomes the final fall of the hero. As if the insoluble tragedy of the Shakespearean source met the intimatepessimism and artistic doubts of the mature Giuseppe Verdi. / Il nostro lavoro, che s'incentra sulla rappresentazione simbolica dei quattro elementi (terra, acqua, aria,fuoco), parte dall' «immaginazione materiale» di Bachelard in vista di stabilire una riflessione bilanciataintorno a dinamiche drammaturgiche e letterarie (in particolare Hugo e Shakespeare) a monte delle operein musica di Verdi per giungere all'analisi di queste da un punto di vista letterario e musicale. Partendodalla mitografia dei quattro elementi, diverse figure del tempo emergono dai libretti verdiani, svelando unpercorso simbolico tematico. Premesso ciò, l'eroina dellaTraviataè condannata da un tempo che fugge,reso evidente dalla frenesia musicale del ritmo. Alcarpe diemimpaziente si oppone allora l'emergeredell'amore inevitabilmente legato alla linearità del tempo e del destino. I fuochi della passione sicontraddistinguono dall'immagine aerea di Violetta, che scivola da una gioia all'altra sviluppando unrapporto con più elementi. Una ricostruzione analitica delBallo in mascheraprova che i personaggi sonodi fatto impotenti e superflui di fronte all'inflessibile destino. Il tempo accelera poi in modo repentino inRigolettoin seno ad un'immagine acquatica. In questa opera, un cronotopo della crisi d'improntabakhtiniana entra in gioco, provocando un ribaltamento della direzione temporale e una precipitazione deltempo resa nota dal ritmo ippico del galoppo. Il tempo cristallizzato diDon Carlosderiva, dal canto suo,dall'esperienza amorosa dei protagonisti che si rifugiano in un tempo reiterabile per via del ricordo mentreun altro ricordo igneo annuncia un ritorno del tempo distruttore nelTrovatore. Ma un secondo regimetemporale lineare dove il fuoco è insaziabile prende ugualmente vita in questa opera cupa, sfociando in unmovimento aereo che rappresenta una fuga dalla condizione terrestre dei personaggi innamorati. Infine, isimboli di un tempo devastatore messaggero della morte, liberati dalla tenebre, sono riscontrabili inMacbeth e Otello, supportati da uno stesso sostrato shakespeariano. È allora giunto il momento dellacaduta finale dell'eroe. Come se l'insolubile tragedia shakespeariana incontrasse il pessimismo e i dubbiartistici di un Giuseppe Verdi giunto ormai a maturità

A combined cycle gas/steam power plant combines a gas turbine (topping cycle) with a steam power plant (bottoming cycle) through the use of a heat recovery steam generator. It uses the hot exhaust of the gas turbine to produce steam which is used to generate additional power in the steam power plant. The aim of this study is to establish the different bottoming cycle performances in terms of the main parameters of heat recovery steam generator and steam cycle for a chosen gas turbine cycle. First of all / for a single steam power cycle, effect of main cycle parameters on cycle performance are analyzed based on first law of thermodynamics. Also, case of existence of a reheater section in a steam cycle is evaluated. For a given gas turbine cycle, three different bottoming cycle configurations are chosen and parametric analysis are carried out based on energy analysis to see the effects of main cycle parameters on cycle performance. These are single pressure cycle, single pressure cycle with supplementary firing and dual pressure cycle. Also, effect of adding a single reheat to single pressure HRSG is evaluated. In single pressure cycle, HRSG generates steam at one pressure level. In dual pressure cycle, HRSG generates steam at two different pressure levels. i.e. high pressure and low pressure. In single pressure cycle with supplementary firing excess oxygen in exhaust gas is fired before entering HRSG by additional fuel input. So, temperature of exhaust gas entering the HRSG rises. Second law analysis is performed to able to see exergy distribution throughout the bottoming plant / furthermore second law efficiency values are obtained for single and dual pressure bottoming cycle configurations as well as basic steam power cycle with and without reheat. It is shown that maximum lost work due to irreversibility is in HRSG for a bottoming cycle in a single pressure gas / steam combined power plant and in boiler for a steam cycle alone. Comparing this with the single pressure cycle shows how the dual pressure cycle makes better use of the exhaust gas in the HRSG that dual pressure combined cycle has highest efficiency values and lost work due to irreversibility in -most significant component- HRSG can be lowered. And also it is shown that by extending the idea of reheat the moisture content is reduced and improvement in the performance is possible for high main steam pressures. Another observation is that supplementary firing increases the steam turbine output compared to the cycle without supplementary firing. The efficiency rises slightly for HP steam pressures higher than 14 MPa at HRSG exit, because the increased steam production also results in increased mass flows removing more energy from the exhaust gas.

La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncée. / The narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss.

Cette thèse s’inscrit dans le prolongement d’un premier travail, mené dans le cadre du Master I, puis du Master II, sur l’iconographie des vitraux du XIIIe siècle de la cathédrale sénonaise. Suite à cette première étude, un constat s’est imposé : malgré l’étendue des travaux antérieurs, l’analyse de l’édifice du « premier maître », pour reprendre l’expression de Jacques Henriet, c’est-à-dire l’analyse du projet du XIIe siècle, l’étude de la chronologie du chantier, mais également des nombreuses modifications subies par la cathédrale métropolitaine au Moyen Âge, et plus particulièrement aux XIIIe et XIVe siècles, laissait place à des observations complémentaires. Au regard de l’ampleur de la tâche, la démarche devait alors prendre le sens d’une « relecture » de la cathédrale métropolitaine, c’est-à-dire une nouvelle lecture approfondie et systématique des données. L’étude se divise en trois parties permettant successivement la définition du contexte archéologique de la cathédrale métropolitaine, puis l’analyse de l’édifice du premier maître et les modifications apportées à ce projet aux XIIIe, XIVe et XVe siècles. La troisième et dernière séquence de ce travail, est conçue comme une tentative de « faire vivre » l’édifice médiéval, afin d’aborder les questions de la gestion de l’espace, de la circulation et de la place des images au seuil et au sein de la cathédrale. / This research is an extension of a previous work, dedicated to the 13th-century stained-glass windows of the cathedral of Sens. Out of this first study was recognition that despite earlier initiated works and studies, the analysis of the building of the « First Master », to quote Jacques Henriet – that is, the chronology of the construction in the 12th and the modifications of its structure in the 13th, 14th and 15th century – was not fully achieved. The study is divided into three parts : the first two parts are dedicated to the archaeological context of the metropolitan church, the architectural analysis of the builing and the chronology of the construction (12th to 15th century) ; the third part is intended to understand the place of the monumental images and the light in the building, and how both clerical and lay could have reacted to them.