Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Les Moteurs à Propergol Solide sont le siège d'instabilités de combustion qui se manifestent par des fluctuations de la pression interne et, en conséquence, de la poussée induite. Les phénomènes oscillatoires observés résultent d'un couplage entre l'acoustique de la chambre de combustion et une ou plusieurs instabilités hydrodynamiques de l'écoulement interne.Dans cette thèse, on s'intéresse à l'étude de l'écoulement induit par injection pariétale en géométrie axisymétrique. Plus particulièrement, on se concentre sur l'interaction qui peut avoir lieu entre cet écoulement et une structure : les Protections Thermiques de Face.Une étude expérimentale reposant sur le montage gaz froid VALDO de l'ONERA, modélisation représentative des MPS P230, a permis d'examiner l'influence d'obstacles, rigides et en élastomère, sur les instationnarités de l'écoulement. Le caractère instable de l'écoulement induit par injection pariétale est alors confirmé et le rôle primordial joué par les PTF sur les fréquences émergeant au sein de l'écoulement a été identifié.L'analyse de stabilité linéaire de l'écoulement, conduite en approche globale, permet l'étude de sa dynamique en tant qu'amplificateur de bruit. Les m¶mécanismes mis en jeu dans l'instabilité de l'écoulement induit par injection pariétale ainsi que son interaction complexe avec la couche de cisaillement issue de l'obstacle sont analysés. La réponse de l'écoulement à un forçage harmonique est alors examinée à la lumière des résultats expérimentaux.Cette étude a été complétée par une approche numérique de l'Interaction Fluide-Structure sur une configuration jugée critique. Une étape préliminaire à la simulation multi-physique est l'élaboration d'un modèle réaliste du comportement des PTF en élastomère. L'identification et la prise en considération des mécanismes propres aux élastomères dans la loi de comportement est ainsi détaillée. Les résultats issus des simulations sont confrontés aux résultats expérimentaux et rendent possible la validation d'un scénario de couplage dédié à l'Interaction Fluide-Structure au sein des MPS. / Fluid Structure Interaction of an inhibitor with the internal flow induced by wall injection was studied in an axisymmetric cold flow apparatus. Experiments were carried out over a wide range of injection velocities in order to underline how the obstacle not only modifies the mean flowfield but also its entire dynamic behaviour.The resulting instability (from the interaction of the unstable shear layer with the Taylor-Culick flow) exhibits a significant shift with respect to the Taylor-Culick instability and therefore emphasizes the strong impact of the inhibitor on hydrodynamics.The mecanisms responsible of such behaviour are studied in this thesis with the help of global linear stability analysis and multi-physics numerical computations.

In the period following the May 1968 protests, French women began to create theatre that highlighted women’s struggles. This study explores the dual influence of Antonin Artaud and Bertolt Brecht on plays by Hélène Cixous, Simone Benmussa, and the Théâtre du Soleil led by Ariane Mnouchkine. Artaud argued that theatre should become a transformative experience through an explosion of sensory stimuli: music, light, noise, and imagery. Conversely, Brecht wanted to use theatre to revolutionize society and theorized that by maintaining historical and emotional distance between the audience and the play, spectators would be encouraged to think critically about the its significance and be compelled to action. The female playwrights and directors studied created powerful theatre by combining these ideas in a manner mimicking Julia Kristeva’s notion of subject formation. Kristeva proposes that the human subject is never stable. Instead, it oscillates between the non-discursive, emotion-filled state she labels the semiotic and the more language- and logic-propelled symbolic register. These two realms are in constant tension as the semiotic disrupts the logic of the symbolic and in turn, the symbolic strives to regulate the semiotic impulses. In this study, I argue that the ideas of Artaud are aligned with the semiotic while those of Brecht resemble the symbolic. In the plays examined, the non-linguistic elements of the design and mise-en-scène engage with the didactic aims of the playwrights and directors, causing the spectator to connect emotionally with the story while simultaneously reflecting on its real-world signification.

<p>Major part of the current work describes the development of the update methodology for onedimensional code (TML) currently used at Volvo Aero Corporation during turbine design process. The methodology is then applied and tried out in a general engine analysis (GESTPAN).</p>

Major part of the current work describes the development of the update methodology for onedimensional code (TML) currently used at Volvo Aero Corporation during turbine design process. The methodology is then applied and tried out in a general engine analysis (GESTPAN).

The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in "Montreal". In this section, the musical message of the piece is analyzed, while taking in consideration the sociohistorical context of the Summer of 2006, the national history that preceded the release of this piece, and the lyrics of the song. Finally, this study investigates the issue of national identity in Quebec, the place of "Montreal" into the collective imagination of Quebeckers, and the popular music tradition of the province.

Paul Dukas, compositeur renommé et critique musical accomplit a publié plus de quatre cents articles sur la musique, dont une majorité sur la musique lyrique. Bien qu’il ait commencé plus d’une vingtaine de projets lyriques avant de les abandonner, Dukas n’a composé qu’un seul opéra : Ariane et Barbe-Bleue.Le paradoxe évident entre le nombre de chroniques, qui dénote une préoccupation constante du compositeur pour le théâtre lyrique, et son unique opéra Ariane et Barbe-Bleue, amène à s’interroger sur la place de l’opéra chez Dukas. Il apparaît alors essentiel de saisir le cheminement intellectuel qui conduit le compositeur à cette œuvre. Que nous révèlent les critiques sur ses propres théories de la musique lyrique ? Quelles interactions existe-t-il entre ses écrits et ses compositions ? Que dévoilent les projets lyriques de ses positions esthétiques ? Pourquoi termine-t-il Ariane et Barbe-Bleue ? Est-elle le reflet synthétique de ses écrits et de ses conceptions ? Ce travail s’intéresse d’abord aux positions esthétiques de Dukas concernant la musique lyrique depuis les sources de l’art wagnérien jusqu’aux critiques d’œuvres contemporaines. Les opinions dégagées nourrissent ensuite l’analyse des nombreux projets d’opéras abandonnés avant d’être confrontées à l’étude de son unique œuvre lyrique : Ariane et Barbe-Bleue. / Paul Dukas, renowned composer and music critic has performed over four hundred published articles on music, mostly on the operatic music. Although he started more than twenty opera before abandoning projects Dukas has composed one opera Ariane et Barbe-Bleue.The apparent paradox between the number of chronicles which denotes a constant concern of the composer for the opera, and unique Ariane et Barbe-Bleue opera raises questions about the place of opera in Dukas. Thus it is vital to understand the intellectual process that led the composer to this work. What do the critics of his own theories of opera? What interactions are there between his writings and compositions? What reveal the lyrical projects on his aesthetic positions? Ariane et Barbe-Bleue is the synthetic reflection of his writings and ideas?This work is primarily concerned with aesthetic positions Dukas on lyrical music from the sources of Wagnerian art to critical contemporary works. The views emerged are compared with the analysis of abandoned opera and the study of its unique lyrical work : Ariane et Barbe-Bleue.

As cores have become better at exposing Instruction-Level Parallelism (ILP), they have become bigger, more complex, and consumes more power. These cores are approaching the Power- and Memory-wall quickly. A new microarchitecture proposed by Carlson et. al claims to solve these problems. They claim that the new microarchitecture, the Load Slice Core, is able to outperform both In-Order and Out-of-Order designs in an area and power restricted environment. Based on Carlson et. al.’s work, we have implemented and evaluated a prototype version of their Load Slice Core using the In-Order Core Ariane. We evaluated the Load Slice Core by comparing the LSC to an IOC when running a microbenchmark designed by us, and when running a set of Application Benchmarks. The results from the Microbenchmark are promising, the LSC outperformed the comparable IOC in each test but problems related to the configuration of the design were found. The results from the Application Benchmarks are inconclusive. Due to time constraints, only a partially functioning LSC were compared to a comparable IOC. From these results we found that the LSC performed comparably or slightly worse than its IOC counterpart. More research on the subject is required for any conclusive statement on the microarchitecture can be made, but it is the opinion of this paper’s authors that it does show promise.

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