In this work present the broad-band noise structure in the 2-60 keV data of Cataclysmic Variables (CVs) with Anomalous X-Ray Pulsars (AXPs) and Soft Gamma Repeaters (SGRs). We analyzed Rossi X-ray Timing Explorer (RXTE) PCA data and derived time series from 27 CVs, 4 AXPs and 1 SGR using the RXTE archive. In general, CVs of different types all show broad band noise which can be fitted with power laws, using exponentional cut-offs, and Lorentzians in a similar way to power spectral (noise) characteristics of X-ray Binaries (XRBs). In general terms the power spectra show a power law index of (-)1.2-2. A rather large scale flattening of the power spectra exits in nonmagnetic systems in the low to very low frequency range. We observe that in low and high states/outbursts the noise in the high frequency range and low frequency range is changed. CVs show considerably low frequency noise. In addition, we recovered several possible QPOs in the X-ray wavelengths from CVs mainly from Intermediate Polar systems. AXP and SGR sources which are thought to be powered by either magnetic decay or accretion show band limited noise in their low frequencies. We also correlated their equal time interval noise characteristic with their burst states and discovered that in the two AXPs (1E 2259+586, 1E 1048.1-5937) noise correlates with their bursts.

The rising importance of culture in social cohesion and economic development necessitates the analysis of cultural consumption from an economic point of view.This is important to understand household profiles which provide a certain typology on the socio-economic and demographic patterns of cultural consumption. In this thesis, we identify the households that spend on recreation and culture, the amount they spend and the potential factors that impact households&rsquo / recreation and culture expenditures in Turkey using the 2003 Household Budget Survey of the Turkish Statistical Institute. The results of a multivariate Tobit analyses suggest that total household expenditures, household size and its composition, age of household head and higher education level and place of residence are significant determinants of a household&rsquo / s expenditures on recreation and culture in Turkey. Our results also indicate recreation and culture to be luxury goods with an estimated income elasticity of 1.55. The multivariate analyses also showed very different expenditure patterns among household residing in different regions of the country. While this result may indicate different tastes and preferences of households residing in different regions it may also be that the supply of cultural goods differ between regions. The impacts of education level together with the socioeconomic factors on household recreation and culture expenditures provide useful insights not only for the suppliers of recreational and cultural goods and services, but also for the policymakers who can influence household consumption behavior (that includes both participation and spending) through using both demand and supply-side instruments.

La thématique touchant la représentation de l’« Orient » et de l’« Occident » a été jusque-là essentiellement étudiée à partir de textes écrits par les Occidentaux eux-mêmes, comme l’a fait par exemple Edward W. Said dans son célèbre ouvrage L’Orientalisme, l’Orient crée par l’Occident. La présente thèse vise à étudier cette problématique à partir d’écrits de romanciers francophones issus de l’« Orient », plus précisément d’Algérie. Le but poursuivi dans cette étude est notamment de savoir si cette littérature développe un contre-discours relativement à l’imaginaire orientaliste ou bien elle ne fait que reproduire d’une manière ou d’une autre les mêmes représentations binaires propres à cette somme de savoir occidental sur l’« Orient ». La question est étudiée à partir d’un corpus comprenant des œuvres de fiction couvrant différentes périodes du roman algérien allant de l’entre-deux-guerres à la guerre de libération jusqu’à la période post-coloniale. L’étude tient également compte de la littérature exotique et coloniale ayant touché à la question de l’« Orient » et de l’ « Occident ».L’analyse se déploie autour de quatre axes. Le premier est celui se rapportant à la langue française, élément fondateur de cette littérature, qui exerce à tel ou tel degré son influence sur l’imaginaire développé par les écrivains algériens concernant les relations entre l’« Orient » et l’« Occident ». Le deuxième renvoie au genre littéraire de prédilection de cette littérature, à savoir le roman, au sein duquel s’exprime également la problématique de l’« Orient » et de l’« Occident ». Le troisième axe concerne la femme, un thème qui occupe une place centrale dans la représentation de l’« Orient » dans l’imaginaire occidental, mais qui est présent aussi en tant que problématique majeure dans le roman algérien de langue française. Le dernier axe est lié à la mise en fiction de l’Islam, marqueur par excellence de l’« Orient » dans l’imaginaire occidental depuis le Moyen-âge et qui tend aujourd’hui à se substituer à la notion même d’« Orient ». Le roman algérien francophone n’a pas manqué de mettre en fiction l’Islam, notamment le roman de l’entre-deux-guerres et celui de l’indépendance.Sans tomber dans la généralisation ou dénier à cette littérature ses innombrables acquis, aussi bien sur le plan qualitatif que dans le cadre de la relecture de l’orientalisme, avec lequel elle entretient par ailleurs des relations complexes, l’étude aboutit à la conclusion que le roman algérien de langue française, notamment en raison de sa déterritorialisation, n’a pas atteint un au-delà du partage binaire entre l’« Orient » et l’« Occident ». Subissant les contraintes des nouvelles formes d’hégémonie propres à la période post-coloniale, exercées par un certain « Occident » sur l’« Orient », elle n’a pu se constituer en une littérature autonome, exprimant l’universel, libérée des enjeux et des contraintes liés à l’équation dominant/dominé. Les nouvelles formes de domination, plus subtiles, laissent des marques manifestes dans les rapports entre la France et son ex-colonie dans le domaine littéraire, faisant parfois du roman algérien un discours inscrit dans le registre de l’« art du dominé ». / The theme relating to the representation of the question of the "East" and the "West" has so far been essentially studied from texts written by the Westerners themselves, as did, for example, Edward Said in his famous book, Orientalism. Our thesis aims to study this issue from the writings of French-speaking novelists, that is to say authors from the "Orient" itself, more precisely from Algeria. The aim pursued in the present study is notably to know if this literature develops a counter-discourse related to. the orientalist imaginary or does it just reproduce, in one way or another, the same binary representations specific to this whole western knowledge about the East. The question is studied from a corpus comprising works of fiction covering different periods of evolution of this Algerian novel, that is to say that of the inter-war period, that of the war of liberation, and finally that of the postcolonial period. The study also takes into account the colonial literature that has touched on the question of the "East" and the "West".The analysis is based on four axes; the first one is related to the French language itself, insofar as, on the one hand, the French language constitutes the founding element of this literature, and on the other hand because of its influence on the imaginary developed around the subject matter of our study. The second axis refers to a strictly literary approach, since this dimension is also a field within which the problematic of the "East" and the "West" is expressed. The third axis concerns women, a theme that occupies a central place in the representation of the "Orient" in the Western imagination, but which presents also as a major problematic issue in the Algerian French written novel at different periods of its evolution . The last axis concerns the fictionalization of Islam as a marker par excellence of the "Orient" in the Western imagination since the Middle Ages, a marker which tends today to replace the notion of "Orient" herself. The French novel did not fail to put Islam in fiction, especially in the in between the Word Wars’ novel and that of the independence period.Without falling into generalization or denying this literature its innumerable achievements, especially qualitatively or through the rereading of orientalism with which it entertains complex relations, our study leads to the conclusion that the Algerian French written novel, especially because of it deterritorialization , didn’t reach a beyond of “East” and “West” level. It has been undergoing the constraints of the new forms of hegemony peculiar to the post-colonial period exerted by a certain "West" on the "East". Consequently, it could not be constituted into an autonomous literature, expressing the universal, free from the stakes and constraints related to the dominant / dominated equation. The new forms of domination, more subtle, leave clear marks in the relations between France and its former colony in the literary field, sometimes making the Algerian novel a discourse inscribed in the register of the "art of the dominated".

Inscrite dans une démarche interdisciplinaire d’Humanités numériques, la thèse a pour objectif la modélisation de la spatialité d’une oeuvre littéraire par les méthodes de traitement et les outils de représentation géomatiques. Face au constat de la complexité et de la spatialité du Cycle de Nedjma de Kateb Yacine (1929-1989), nous proposons en effet d’utiliser des méthodes de connaissances et des modes de discours non-linéaires afin d’explorer autrement l’oeuvre littéraire. L’objectif est également de faire apparaitre le rôle spécifique du récit dans la construction géographique de l’oeuvre. Cette proposition résulte d’une réflexion épistémologique approfondie sur les potentialités de la modélisation spatiale en géographie et en littérature. Elle se fonde sur les hypothèses de recherche suivantes : l’espace littéraire estun espace au sens propre ; les différents types d’espaces (espace géographique, espace géométrique, espace de la figure poétique, espace de l’imagination, espace textuel, espace littéraire) peuvent être décloisonnés ; l’étude de leurs relations informe la connaissance du récit littéraire. La méthodologie mise en place consiste à réaliser une base de données géographique afin de formaliser, de répertorier et de représenter cartographiquement les données géographiques et narratives extraites du roman Nedjma. La série de carte résultante met à jour la co-construction de l’espace géographique et de l’espace littéraire katébien. Par des effets d’éclatement et de rapprochement narratifs, l’espace est-algérien est en effet reconfiguré, jetant les bases pour la construction d’une nation algérienne ouverte et réticulaire. / The purpose of this thesis is to modelize the literary space using geomatics methods and quantitative tools. Due to the complexity and spatiality of the Cycle de Nedjma by Kateb Yacine (1929- 1989), we intended to develop non-linear knowledges and representations in order to explore differently the literary work. The purpose of this thesis is also to show the specific role of the narrative in the construction of its own geography. This proposal is based on a detailed study of potentialities of a spatial modelization in geographic and literary fields. This work is based on three main hypothesis: the fact that “literary space” is indeed a real space; the fact that partitions between different definitions of space can beovercome; and finally the fact that studying the relationships between those spaces can enlighten us about the functioning of the narrative. The methodology consisted in producing a geographic database that would be able to formalize, index and represent the geographic and narrative data extracted from the novel Nedjma. The resulting set of maps shows the co-construction of the geographic and the literary katebian spaces. Indeed, through proximity and bursting narrative effects, Algerian space is reconfigured, setting the basis of a more open and reticular Algerian nation.

Cette thèse examine les rapports entre écriture de soi, écriture de l’Histoire et mise en fiction chez trois auteurs contemporains : Serge Doubrovsky, Georges Perec et Jorge Semprun. Les deux premières parties ont pour objet de poser les repères biographiques, historiques et littéraires indispensables à la compréhension d’un individu, à l’appréhension d’une époque et d’un paysage littéraire. Sur la base des données ainsi réunies, les troisième et quatrième parties analysent les caractéristiques de cette écriture de soi, aux prises avec l’Histoire, autour de deux axes : celui de l’enfance et celui de la quête identitaire. L’Histoire de thématique va progressivement devenir motif obsédant. La cinquième partie met en relief les stigmates présents dans le corps des textes. Nous concluons autour de la notion de « tribunal textuel ». / This thesis addresses the relationship between writing about oneself, writing about History and how three contemporary authors – Serge Doubrovsky, Georges Perec and Jorge Semprun – fictionalized themselves. The first two sections’ aim is to establish biographical, historical and literary guidelines, indispensable to the better comprehension of an individual, an era and a literary landscape. On the basis of information collected like so, the third and fourth sections analyse the characteristics of writing about oneself when dealing with History. This discussion is articulated around two axis: that of childhood and that of quest for identity. From underlining theme, History progressively becomes an obsessive motif. The fifth section highlights the stigmas in the text elements. We conclude with a discussion on the notion of “textual tribunal.”

Dans une approche stylistique, mêlant linguistique de l’énonciation, pragmatique et linguistique textuelle, cette thèse explore l’œuvre romanesque de Boris Vian en interrogeant les relations qu’entretiennent le potentiel imageant du langage et la création de l’univers fictionnel vianesque. En dépassant la perspective qui conçoit le plus souvent la fictionnalisation comme une mise en fiction du réel, ce travail propose un élargissement du concept, également entendu comme création de fiction. Le corpus, volontairement restreint à un genre littéraire (le genre romanesque) et à un auteur particulier, rassemble les six romans signés Boris Vian (production qui s’étend de 1942 à 1953). Ce choix tient à la volonté de caractériser l’œuvre romanesque dans son ensemble tout en mettant en évidence les spécificités de l’évolution du style vianesque. À partir de différents pôles d’analyses, cette étude cherche à comprendre la particularité des fictions vianesques, apportant un éclairage inédit sur le style et l’esthétique de l’auteur. L’étude des procédés langagiers à l’œuvre dans la fictionnalisation, au cœur de ce travail, s’attache progressivement à l’observation des lieux textuels d’entrée et de sortie de la fiction, des jeux langagiers et des figures du discours. Cette recherche examine ainsi les outils récurrents permettant le passage du monde de référence du lecteur vers celui de la fiction.Par un jeu constant avec les normes (que celles-ci soient d’ordre langagiers ou littéraires), le texte vianesque présente un monde souvent déroutant pour le lecteur qui doit alors le « décoder » pour comprendre les nouvelles lois régissant cet univers. Ce travail de thèse propose une nouvelle grille d’analyse pour appréhender la fiction vianesque. / This thesis explores the novelistic work of Boris Vian from a stylistic perspective at the intersection of the linguistics of enunciation, pragmatics and textual linguistics. It focuses on the relations between the imaging potential of language and the Vianian creation of a fictional universe. It broadens the traditional perspective that conceives of fictionalization as putting reality in fiction by considering fictionalization as the creation of fiction. The corpus is restricted to one literary genre (novels) and one author. It includes the six novels written under the name Boris Vian (between 1942 and 1953). This choice is motivated by a willingness to characterize both the Vianian novelistic œuvre in its totality and the specificity of the evolution of the Vianian style. This study uses different analytical perspectives to understand the peculiarities of Vianian fiction and to highlight the style and aesthetics of the author in an original way. The study of the linguistic processes at play in Vianian fictionalization, which is at the center of this thesis, seeks to gradually observe the places in the text where fiction enters and exits, plays on words, and figures of speech. This research scrutinizes the recurring tools which allow going from the reader’s world of reference to the world of fiction. The Vianian text often presents a world that baffles the reader because it constantly plays with various (linguistic or literary) norms. Hence the reader needs to “decode” that world to understand the new laws by which it abides. This dissertation therefore proposes a new analytical perspective to further our understanding of Vianian fiction.

This study uses the ‘duchies' of Burgundy and Alemannia as case studies for an examination of the nature and causes of political change in the five decades after the death in 888 of the Emperor Charles the Fat ended the Carolingian monopoly on kingship in the Frankish realms. Existing narratives of this period posit discontinuity between the pre- and post-888 political worlds and define the status of dukes in opposition to royal power as the manifestation of either regional communal identity or self-centred aristocratic greed. Close examination of Burgundy and Alemannia indicates that such approaches are invalid, and that the fundaments of the Carolingian system persisted in the ideology and practice of politics after 888: a desire for the control over land and religious establishments, juxtaposed with a deep-seated belief in the centrality of the kingship to the political order. Dukedoms emerged in both regions not as a result of deep-rooted social forces but as short-term responses by magnates to crises at the centre. The perception that the dukedom was an essential form of political organization failed to take root in either territory prior to 940. Although the status of the dukedoms ultimately developed in different ways in the two kingdoms, it is suggested that the root causes of this are best sought in high politics itself.

La querelle des investitures (1073-1122) étudiée d'après les vies de saints qui ont été rédigées dans l'Empire entre 1073 et 1152. / Doctorat en philosophie et lettres, Orientation histoire / info:eu-repo/semantics/nonPublished

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My research bridges the gap between Anglophone postcolonial studies and Francophone literary studies by looking at Francophone literature from West and Equatorial Africa, which remains under-studied in France. This work answers key questions: how can this literature be interpreted beyond its current confines? How does it rethink local and global identities? What theoretical configurations can be applied to these writers to bring them into greater academic and public prominence? I propose a comprehensive analysis of this literature’s significance in the world through a comparative reading of five contemporary regional novels in their political, social and historical context. This multidirectional reading allows me to evoke what Dominic Thomas calls an ‘intercultural dynamics’ in which colonialism ‘finds itself relocated as a mechanism that proceeds from globalization’, and integrates various spatial zones in which thinking is produced. It brings forward key writers situated ‘outside of the parameters of Frenchness’ inscribed in cosmopolitan decolonizing and cultural reconstruction trends, such as Léonora Miano, a young Cameroonian author and winner of six French literary prizes; Fatou Diome, a Senegalese best-selling writer; Sénouvo Agbota Zinsou from Togo, 63 and in political exile; one contemporary writer, Kangni Alem (Togo), and one more established intellectual, Boubacar Boris Diop (Senegal).