In this work, the B-&gt / X_dell ell decays are examined in the context of a CP softly broken two Higgs doublet model. The differential branching ratio, forward-backward asymmetry, CP-violating asymmetry, CP-violating asymmetry in the forward-backward asymmetry and polarization asymmetries of the final lepton in this decay are studied. The dependencies of these physical parameters on the model parameters are analyzed by paying a special attention to the effects of neutral Higgs boson (NHB) exchanges and possible CP violating effects. It has been found that NHB effects are quite significant for the tau mode and the above-mentioned observables seems to be promising as a testing ground for new physics beyond the SM, especially for the existence of the CP-violating phase in the theory.

In this thesis Langevin approach is applied to analyze the nuclear dissipative dynamics in fission and fusion reactions. In these investigations, the nuclear elongation coordinate and the corresponding momentum are chosen as collective variables. By considering changes in these variables the decay rate of fission and the formation probability of fusion for heavy ion reactions are calculated. These calculations are performed using simulation techniques and the results thus obtained are compared with the corresponding results of analytic solutions.

Multidimensional quantum tunnelling is an important tool that is used in many areas of physics and chemistry. Sub-barrier fusion reactions of heavy-ions are governed by quantum tunnelling. However, the complexity of the structures of heavy-ions does not allow us to use simple one-dimensional tunnelling equations to and the tunnelling probabilities. Instead of this one should consider all the degrees of freedom which affect the phenomenon and accordingly the intrinsic structure or the deformation of the nuclei must be taken into account in the modelling of heavy-ion fusion. These extra degrees of freedom result in a coupling potential term in the Schrodinger equation of the fusing system. In this thesis 16O + 238 U system is considered. Only the rotational deformation of Uranium is assumed and the coupling potential term is calculated for this system by using two diffrent potential types, namely the Woods-Saxon potential and the double folding potential. Using this term in the Schrodinger equation fusion probability and theoretical cross section are calculated. A discussion that addresses then necessity of multidimensional formulation is given. Besides this point the effects of the choice of the potential type are shown.

In this thesis we improve and extend an algebraic technique pioneered by M. Gaudin. The technique is based on an infinite dimensional Lie algebra and a related family of mutually commuting Hamiltonians. In order to find energy eigenvalues of such Hamiltonians one has to solve the equations of Bethe ansatz. However, in most cases analytical solutions are not available. In this study we examine a special case for which analytical solutions of Bethe ansatz equations are not needed. Instead, some special properties of these equations are utilized to evaluate the energy eigenvalues. We use this method to find exact expressions for the energy eigenvalues of a class of interacting boson models. In addition to that, we also introduce a q-deformation of the algebra of Gaudin. This deformation leads us to another family of mutually commuting Hamiltonians which we diagonalize using algebraic Bethe ansatz technique. The motivation for this deformation comes from a relationship between Gaudin algebra and a spin extension of the integrable model of F. Calogero. Observing this relation, we then consider a well known periodic version of Calogero&#039 / s model which is due to B. Sutherland. The search for a Gaudin-like algebraic structure which is in a similar relationship with the spin extension of Sutherland&#039 / s model naturally leads to the above mentioned q-deformation of Gaudin algebra. The deformation parameter q and the periodicity d of the Sutherland model are related by the formula q=i{pi}/d.

A general analysis of the photon and lepton polarizations in the rare Bs &amp / #8594 / &amp / #61543 / l+l- decay by using the most general model independent form of the effective Hamiltonian is presented. The total and the differential branching ratios for these decays, when photon is in the positive and negative helicity states, are studied. The sensitivity of &quot / photon polarization asymmetry&quot / and the longitudinal, transverse and normal polarization asymmetries of final state leptons, as well as lepton-antilepton combined asymmetries in Bs &amp / #8594 / &amp / #61543 / l+l- decay to the new Wilson coefficients are also investigated. It is shown that all these physical observables are very sensitive to the existence of new physics beyond SM and their experimental measurements can give valuable information about it.

The supersymmetric solutions of PT-/non-PT symmetric and Hermitian/non-Hermitian forms of quantum systems are obtained by solving the Schr&Auml / odinger equation with the deformed Morse, Hulth&para / en, P&Auml / oschl-Teller, Hyperbolic Kratzer-like, Screened Coulomb, and Exponential-Cosine Screened Coulomb (ECSC) potentials. The Hamiltonian hi- erarchy method is used to get the real energy eigenvalues and corresponding wave functions.

À travers la thèse Vu(es) de dos : la photographie comme espace d'identité et de création, je questionne ma pratique photographique suivant la phénoménologie du regard, tout en faisant face à une obsession, celle de vouloir voir mon propre dos et celui des autres. En partant de mon corps comme source d'expérimentation, j'exprime ce besoin d'exister autrement, à travers cette part qui semble invisible à mon regard. C'est cette quête de reconnaissance qui me pousse à mettre en place des protocoles artistiques afin de me confronter à l'autre de dos. En me déplaçant dans l'espace et en allant à la rencontre de l'inconnu, je commence à créer des espaces de réflexion. Le dos devient alors le sujet photographié et observé, ce point de départ de ma recherche théorique et esthétique, tout comme la base du rapport que j'établis avec le monde de l'art et les autres. En tant qu'interface, la vue de dos semble donner sur un lieu ou une territorialité anthropologique et artistique, qui suggère une autre manière d'être, de voir et de penser le monde. / Through the thesis Back view(s) : photography as identity and creation space, I question my photographic practice through the phenomenology of the gaze, while facing an obsession, the desire to see my own back and the back of the others. Starting from my own body as a source of experimentation, I express the need to exist in a different way through this part of my body that remains invisible to my own gaze. This search for recognition leads me towards developing artistic protocols, to face the other from the back. While I am traveling through space and meeting the unknown, I create different spaces of reflection. The back becomes the subject being photographed and observed, the starting point of my theoretical and aesthetic research, as well as the foundation that I build with the world of art and the others. As an interface, the view of the back seems to provide a look onto an anthropological and artistic place or territoriality, suggesting another way of being, seeing and thinking the world.

A presente dissertação se dedica a refletir sobre o corpo e o grotesco na arte e na comunicação contemporâneas. O objetivo do estudo foi investigar o grotesco na cena da dança contemporânea com o intuito de compreender como se dá a relação entre o modo de apreensão do grotesco na atualidade e o modo como ele se apresenta cenicamente. Assim, procurou-se investigar que representações da cultura contemporânea podem estar associadas às manifestações do fenômeno grotesco; como a mídia e o consumo de massa participam na disseminação desta estética; e como o corpo cênico na dança se aproxima/reflete estas representações presentes no cotidiano. O fenômeno grotesco, objeto de estudo desta pesquisa, foi investigado em duas companhias de dança: a Lia Rodrigues Companhia de Danças (RJ) e o Grupo Cena 11 de Dança (SC), onde foram observados o tratamento artístico e os dispositivos utilizados para construção do efeito corpo-grotesco nos espetáculos e o posicionamento dos artistas com o uso da estética grotesca nas obras. O embasamento teórico do estudo investiu na compreensão do fenômeno grotesco nos âmbitos histórico, estético/artístico e social e sua contextualização na contemporaneidade. Partiu-se do entendimento de que o corpo é mídia primária, "espaço" de comunicação e de linguagem e a dança cênica é um fenômeno urbano, que espelha as transformações representacionais do início deste século XXI. As abordagens teóricas de Mikhail Bakhtin sobre o realismo grotesco; de Wolfgang Kayser, sobre o grotesco romântico e os estudos de Muniz Sodré e Raquel Paiva, sobre o grotesco na comunicação contemporânea fundamentaram as discussões. Foi relevante refletir sobre as mudanças de paradigmas sociais que vêm se desenhando na atualidade, sobretudo com a influência do desenvolvimento tecnológico e midiático sobre as corporeidades e os processos de subjetivação. As qualidades fluidas e polifônicas associadas à contemporaneidade nortearam o entendimento desses novos paradigmas estéticos do corpo - atribuídos como corporeidades móveis contemporâneas - e, serviram para denominar/compreender como "grotesco líquido" a presença múltipla e volátil dos fenômenos grotescos na atualidade. / This dissertation is dedicated to reflecting on the body and the grotesque in the contemporary art and communication. The aim of this study was to investigate the grotesque in contemporary dance scene in order to understand the relationship between the way of apprehension of the grotesque nowadays and how it is presented scenically. This way, we sought to investigate representations of contemporary culture that may be associated with manifestations of the grotesque phenomenon; how the media and mass consumption take part in the dissemination of this aesthetic; and how, in the dance, the scenic body approaches/reflects these representations present in everyday life. The grotesque phenomenon, object of this research, was investigated in two dance companies: Lia Rodrigues Companhia de Danças (RJ) and Grupo Cena11 de Dança (SC), where we observed the artistic treatment and equipment used for the construction effect on body-grotesque during the performances and the point of view of the artists using the grotesque aesthetic in their works. The theoretical grounds of this study invested in understanding the grotesque phenomenon in historical fields, aesthetic/artistic and social and its contextualization in contemporaneity. This started from the understanding that the body is primary media, "space" of communication and language, and the scenic dance is an urban phenomenon that mirrors the representational transformations from the beginning of the 21st century. The theoretical approaches of Mikhail Bakhtin on the grotesque realism; Wolfgang Kayser, on the romantic grotesque and the studies of Muniz Sodré and Raquel Paiva, on the grotesque in contemporary communication grounded the discussions. It was important to reflect on the changing of social paradigms that have been molding themselves nowadays, especially with the influence of technological development and media on corporeality and subjectivity processes. The fluid and polyphonic qualities associated with contemporaneity, guided the understanding of these new aesthetic paradigms of the body - assigned as contemporary mobile corporealities - and served to denominate/understand as "liquid grotesque" the multiple and volatile presence of the grotesque phenomena today.

A presente dissertação se dedica a refletir sobre o corpo e o grotesco na arte e na comunicação contemporâneas. O objetivo do estudo foi investigar o grotesco na cena da dança contemporânea com o intuito de compreender como se dá a relação entre o modo de apreensão do grotesco na atualidade e o modo como ele se apresenta cenicamente. Assim, procurou-se investigar que representações da cultura contemporânea podem estar associadas às manifestações do fenômeno grotesco; como a mídia e o consumo de massa participam na disseminação desta estética; e como o corpo cênico na dança se aproxima/reflete estas representações presentes no cotidiano. O fenômeno grotesco, objeto de estudo desta pesquisa, foi investigado em duas companhias de dança: a Lia Rodrigues Companhia de Danças (RJ) e o Grupo Cena 11 de Dança (SC), onde foram observados o tratamento artístico e os dispositivos utilizados para construção do efeito corpo-grotesco nos espetáculos e o posicionamento dos artistas com o uso da estética grotesca nas obras. O embasamento teórico do estudo investiu na compreensão do fenômeno grotesco nos âmbitos histórico, estético/artístico e social e sua contextualização na contemporaneidade. Partiu-se do entendimento de que o corpo é mídia primária, "espaço" de comunicação e de linguagem e a dança cênica é um fenômeno urbano, que espelha as transformações representacionais do início deste século XXI. As abordagens teóricas de Mikhail Bakhtin sobre o realismo grotesco; de Wolfgang Kayser, sobre o grotesco romântico e os estudos de Muniz Sodré e Raquel Paiva, sobre o grotesco na comunicação contemporânea fundamentaram as discussões. Foi relevante refletir sobre as mudanças de paradigmas sociais que vêm se desenhando na atualidade, sobretudo com a influência do desenvolvimento tecnológico e midiático sobre as corporeidades e os processos de subjetivação. As qualidades fluidas e polifônicas associadas à contemporaneidade nortearam o entendimento desses novos paradigmas estéticos do corpo - atribuídos como corporeidades móveis contemporâneas - e, serviram para denominar/compreender como "grotesco líquido" a presença múltipla e volátil dos fenômenos grotescos na atualidade. / This dissertation is dedicated to reflecting on the body and the grotesque in the contemporary art and communication. The aim of this study was to investigate the grotesque in contemporary dance scene in order to understand the relationship between the way of apprehension of the grotesque nowadays and how it is presented scenically. This way, we sought to investigate representations of contemporary culture that may be associated with manifestations of the grotesque phenomenon; how the media and mass consumption take part in the dissemination of this aesthetic; and how, in the dance, the scenic body approaches/reflects these representations present in everyday life. The grotesque phenomenon, object of this research, was investigated in two dance companies: Lia Rodrigues Companhia de Danças (RJ) and Grupo Cena11 de Dança (SC), where we observed the artistic treatment and equipment used for the construction effect on body-grotesque during the performances and the point of view of the artists using the grotesque aesthetic in their works. The theoretical grounds of this study invested in understanding the grotesque phenomenon in historical fields, aesthetic/artistic and social and its contextualization in contemporaneity. This started from the understanding that the body is primary media, "space" of communication and language, and the scenic dance is an urban phenomenon that mirrors the representational transformations from the beginning of the 21st century. The theoretical approaches of Mikhail Bakhtin on the grotesque realism; Wolfgang Kayser, on the romantic grotesque and the studies of Muniz Sodré and Raquel Paiva, on the grotesque in contemporary communication grounded the discussions. It was important to reflect on the changing of social paradigms that have been molding themselves nowadays, especially with the influence of technological development and media on corporeality and subjectivity processes. The fluid and polyphonic qualities associated with contemporaneity, guided the understanding of these new aesthetic paradigms of the body - assigned as contemporary mobile corporealities - and served to denominate/understand as "liquid grotesque" the multiple and volatile presence of the grotesque phenomena today.

Le travail artistique ne se construit pas sur une question préalable mais sur l’émergence toujours renouvelée de questions imprévisibles.L’oeuvre d’art à l’époque de sa discrétion technique tire bien évidemment son titre du texte de Walter Benjamin L’oeuvre d’art à l’époque de sa reproductibilité technique. Dans son texte, Benjamin essaie d’envisager les conséquences esthétiques et politiques de la reproductibilité technique. Nous essayons (modestement) de reposer la même question à l’heure du numérique.Cette question n’était pas donnée d’emblée. Elle est apparue dans le tressage complexe de la pratique. Dans ce tressage de problématiques apportées par la pratique elle-même, deux temps sont aujourd’hui visibles :- le temps de la reproductibilité technique, du livre d’artiste et du don ;- le temps de la discrétion, du numérique et de la disponibilité.Ces questions sont apparues de proche en proche et jamais selon un plan préétabli. Le travail d’analyse, n’est donc pas la recherche d’une stratégie ou d’un plan préexistant mais le relevé a posteriori d’un territoire découvert par une marche dans un pays inconnu.Ce tressage continu de la pratique et de la théorie est présent dans l’écriture même de la thèse. S’y mêlent à égalité des oeuvres plastiques, des textes littéraires, des articles, des manifestes et des écrits théoriques. / Artistic work is not built on a previous question but always renewed by the emergence of unforeseen issues.The Work of Art in the Age of Technical Discretion obviously takes its title from the text of Walter Benjamin The Work of Art in the Age of Mechanical Reproduction. In his text, Benjamin tries to consider the aesthetic and political consequences of technical reproducibility. We try (modestly) to ask the same question in the digital age.This question was not immediately given. It appeared in the complex braiding practice. In this weaving problems introduced by the practice itself, two times are now visible:- Time of technical reproducibility, artist’s book and gift;- The time of discretion, digital and availability.These questions have arisen step by step and not according to a predetermined plan. The analytical work, therefore, is not looking for a pre-existing strategy or plan, but the survey retrospectively territory discovered by a walk in an unknown country.This continuous braiding of practice and theory is in the writing of the thesis too. Mingle with equal plastic works, literary texts, articles, manifestos and theoretical writings.