Les professeurs de lettres en lycée sont invités à construire des « séquences d’enseignement cohérentes fondées sur une problématique littéraire » et à « inciter les élèves à problématiser leur réflexion en relation avec l’objet d’étude concerné » (programmes de lettres de l'Éducation Nationale, septembre 2010). La mise en œuvre de ces exigences par les élèves et les professeurs est complexe et passe par une clarification épistémologique et didactique.Dans un premier travail de recherche (mené en Master 2 MEEF, parcours « Expertise, enseignement et apprentissage »), nous avons montré, au terme d'une exploration des savoirs fondamentaux de la discipline des lettres notamment éclairée par la Poétique d'Aristote, que l'œuvre littéraire peut être appréhendée comme la tentative de réponse à un problème, tentative que l'auteur construit au moyen d'une forme littéraire. Dans cette perspective, le modèle de problématisation de Michel Fabre appuyé notamment sur les travaux de Gilles Deleuze (pour la logique du sens) de Gaston Bachelard (pour la construction de problèmes) et de Michel Meyer (pour le questionnement problématologique) permet de guider les élèves vers la compréhension du sens de l'œuvre en les aidant à reconstruire le problème à laquelle l'œuvre tente de répondre. À l'aide d'enregistrements de travaux d'élèves et d'un entretien post-séance mené avec un professeur de lycée, nous avons pu repérer, par des analyses successives, des éléments susceptibles de générer l'activité de problématisation dans la lecture des textes littéraires, ainsi que certaines conditions à respecter de la part du professeur pour que cette activité favorise la construction de nouveaux savoirs par les élèves.La mise en activité des élèves au service de la construction de compétences de lecture apparaissant de plus en plus comme une pratique pertinente et nécessaire dans les classes de lycée, l'intérêt de notre recherche se déplace vers le lien entre problématisation et compétence de lecture littéraire : l'activité de problématisation dans la lecture analytique des textes (quelle que soit leur longueur) est-elle une démarche adéquate et performante pour permettre aux lycéens de construire avec la liberté nécessaire leurs compétences de lecture littéraire ? / Can reading literature be viewed as problem building and can it help high-school students get involved in encountering, getting familiar with, written works and acquiring critical skills? This is what this doctoral research defends within the theoretical framework of problematization (Fabre, Orange) and in the perspective of the theory of the subjective reader. This research first questions the presence of the paradign of the problem in the field of teaching French along with its links with the current methods of literature reading in high school: what does setting a problem about a text mean and is there a specific way to problematize one’s thinking in the field of Literature studies? It assumes that the problem-building process may be a relevant method of reconfiguring the text by the student, and that it may shed light on the links between subjective impressions and objectifying reading. This work then puts this hypothesis to the test. With the help of recordings of class activities at Première and Seconde levels and post-lesson interviews of students and teachers, it analyses students’ language interactions using problematization’s lozenge and provides elements likely to generate the activity of problematization as well as certain prerequisites to its triggering student involvement and the development of literary reading skills. Finally it analyses a survey carried out with French departments in two schools experimenting on how they guide students through their encounter of texts, and offers a few recommendations, particularly as to adopting an ethical approach, training teachers and anchoring written works in the students’ memory.

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.

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Thermoelectric (TE) module integration into a notebook computer is experimentally investigated in this thesis for its energy harvesting opportunities. A detailed Finite Element (FE) model was constructed first for thermal simulations. The model outputs were then correlated with the thermal validation results of the selected system. In parallel, a commercial TE micro-module was experimentally characterized to quantify maximum power generation opportunity from the combined system and component data set. Next, suitable &ldquo / warm spots&rdquo / were identified within the mobile computer to extract TE power with minimum or no notable impact to system performance, as measured by thermal changes in the system, in order to avoid unacceptable performance degradation. The prediction was validated by integrating a TE micro-module to the mobile system under test. Measured TE power generation power density in the carefully selected vicinity of the heat pipe was around 1.26 mW/cm3 with high CPU load. The generated power scales down with lower CPU activity and scales up in proportion to the utilized opportunistic space within the system. The technical feasibility of TE energy harvesting in mobile computers was hence experimentally shown for the first time in this thesis.

An aerodynamic design and optimization tool for wind turbines is developed by using both Blade Element Momentum (BEM) Theory and Genetic Algorithm. Turbine blades are optimized for the maximum power production for a given wind speed, a rotational speed, a number of blades and a blade radius. The optimization variables are taken as a fixed number of sectional airfoil profiles, chord lengths, and twist angles along the blade span. The airfoil profiles and their aerodynamic data are taken from an airfoil database for which experimental lift and drag coefficient data are available. The BEM analysis tool developed is first validated with the experimental data for low wind speeds. A 100 kW wind turbine, which is used in the validation, is then optimized. As a result of the optimization, the power production is improved by 40 to 80 percent. The optimization methodology is then employed to design a 1MW wind turbine with a 25m radius.

Energy consumption is continuously increasing around the world and this situation yields research to find sustainable energy solutions. Demand for cooling is one of the reasons of increasing energy demand. This research is focused on one of the sustainable ways to decrease energy demand for cooling which is the solar-powered adsorption cooling system. In this study, general theoretical performance trends of a solar-powered adsorption cooling system are investigated using TRNSYS and MATLAB. Effects of different cycle enhancements, working pairs, operating and design conditions on the performance are analyzed through a series of steady and seasonal-transient simulations. Additionally, a normalized model is presented to investigate the effects of size of the system, need for backup power, collector area and mass of adsorbent. Results are presented in terms of values and ratios of cooling capacity weighted COP. For the conditions explored, the thermal wave cycle, wet cooling towers, high evaporation temperatures and evacuated tube collectors produced the highest COP values. Moreover, the heat capacity of the adsorbent bed and its shell should be low for the simple and heat recovery cycles and the adsorbent bed should be cooled down to the condensation temperature for all cases to achieve the highest possible COP. The selection of working pair should depend on the temperature of the available heat source (solar energy in this study) since each working pair has a distinct operating temperature range. Furthermore, there is always a need for backup power for the analyzed location and the system.

In this study, the theoretical performance of a concentrating solar thermal electric system (CSTES) using a field of parabolic trough collectors (PTC) is investigated. The commercial software TRNSYS and the Solar Thermal Electric Components (STEC) library are used to model the overall system design and for simulations. The model was constructed using data from the literature for an existing 30-MW solar electric generating system (SEGS VI) using PTC&rsquo / s in Kramer Junction, California. The CSTES consists of a PTC loop that drives a Rankine cycle with superheat and reheat, 2-stage high and 5-stage low pressure turbines, 5-feedwater heaters and a dearator. As a first approximation, the model did not include significant storage or back-up heating. The model&rsquo / s predictions were benchmarked against published data for the system in California for a summer day. Good agreement between the model&rsquo / s predictions and published data were found, with errors usually less than 10%. Annual simulations were run using weather data for both California and Antalya, Turkey. The monthly outputs for the system in California and Antalya are compared both in terms of absolute monthly outputs and in terms of ratios of minimum to maximum monthly outputs. The system in Antalya is found to produce30 % less energy annually than the system in California. The ratio of the minimum (December) to maximum (July) monthly energy produced in Antalya is 0.04.

This thesis presents numerical modelling and analysis of a solar Organic Rankine Cycle (ORC) for electricity generation. A regression based approach is used for the working fluid property calculations. Models of the unit&rsquo / s sub-components (pump, evaporator, expander and condenser) are also established. Steady and transient models are developed and analyzed because the unit is considered to work with stable (i.e. solar + boiler) or variable (i.e. solar only) heat input. The unit&rsquo / s heat exchangers (evaporator and condenser) have been identified as critical for the applicable method of analysis (steady or transient). The considered heat resource into the ORC is in the form of solar heated water, which varies between 80-95 0C at a range of mass flow rates between 2-12 kg/s. Simulation results of steady state operation using the developed model shows a maximum power output of around 40 kW. In the defined operation range / refrigerant mass flow rate, hot water mass flow rate and hot water temperature in the system are identified as critical parameters to optimize the power production and the cycle efficiency. The potential benefit of controlling these critical parameters is demonstrated for reliable ORC operation and optimum power production. It is also seen that simulation of the unit&rsquo / s dynamics using the transient model is imperative when variable heat input is involved, due to the fact that maximum energy recovery is the aim with any given level of heat input.

In this study the catalytic pyrolysis and combustion characteristics of Turkish coal samples in O2/N2 and O2/CO2 (oxy-fuel conditions) ambient conditions were explored and the evolution of emissions during these tests was investigated using non-isothermal Thermo-gravimetric Analysis (TGA) technique combined with Fourier Transform Infrared (FTIR) spectroscopy. Potassium carbonate (K2CO3), calcium hydroxide (Ca(OH)2), iron (III) oxide (Fe2O3) and iron (III) chloride (FeCl3) were employed as precursors of catalysts to investigate the effects of potassium (K), calcium (Ca) and iron (Fe). Furthermore the effects of these catalysts on calorimetric tests of Turkish coal samples were investigated. TGA-FTIR pyrolysis tests were carried out in 100 % N2 and 100 % CO2 ambient conditions which are the main diluting gases in air and oxy-fuel conditions. Lignite pyrolysis tests revealed that the major difference between pyrolysis in these two ambient conditions was observed beyond 720