D.Litt. et Phil. / If the hypothesis is correct, there will be a reciprocal effect between the military budget and the Gross Domestic Product. The higher the technological level of arms and arms production, the more this reciprocal effect will be interwoven with the process of economic growth. It is measured by input-output figures and the applicable industrial multiplier, calculated from them. Production of high technology arms stimulates growth, the higher the technology, the larger the miltary contribution to the GDP and to economic growth. From the resultant increase in in the GDP, the income of the State by way of taxes will also grow, subject tro a time lag. The increase in State revenue will return to the Treasury part of the State's original expenditure on defence. My study indicates that the applicable multiplier for defence spending is 3.70 and that the multiplier for arms production is above 4. The part of military expenditure returned to the State will therefore be sizable. Military expenditure is often viewed as competing with socially desirable civil expenditure, as a case of opportunity cost. I argue that oppotunity costs do not apply and that the stimulus economy derived from military expenditure via the multiplier, helps funding social projects along with other civil expenditure. The reasoning in this study can be extended to the funds invested in increasing the capital and technology intensity of the defence force, a modern trend which can be economically justified by the part of the investment that will be returned via the GDP. The way to escape the limitations imposed on defence strength by the availabiluity of manpower is exactly this modernisation of its technology. In this way a medium power can increase its relative strength to the leyel of the "strength threshold" at which an independent deterrent can be credibly presented. In these terms a critical value can be defined, expressed as a pecentage of GDP budgeted for defence, above which a country could be considered militarily safe.

O exemplar da FE é acompanhado de 1 CD-R, com vídeo / Orientador: Maria Teresa Egler Mantoan / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-07T15:03:20Z (GMT). No. of bitstreams: 1 Palma_LucianeVieira_M.pdf: 3147936 bytes, checksum: 78f08da88396d66ff695a3674a7d6f07 (MD5) Previous issue date: 2006 / Resumo: Este estudo teve como objetivo conhecer e analisar o cotidiano dos trabalhos desenvolvidos por uma importante e conhecida ONG (organização não-governamental) de São Paulo, a Associação Meninos do Morumbi, para retirar possíveis implicações de sua metodologia de trabalho para a educação formal, de modo que os êxitos por ela obtidos em termos educacionais apontassem caminhos e/ ou alternativas para a melhora da qualidade do ensino nas nossas escolas. Para a escrita desta dissertação recorri a diferentes linguagens, dentre as quais destaco a linguagem literária, através de crônicas sobre minha vivência na Associação, e a linguagem plástica, através de códigos ilustrativos. Além disso, em anexo há um CD Rom que ilustra o ambiente acadêmico em que este trabalho foi defendido. Trata-se de uma mostra artística que se concretizou a partir da interpretação do conteúdo do trabalho por uma artista plástica. A intenção de apresentar este estudo rompendo as formas usuais adotadas pela Universidade, tem a ver com a pesquisa no/ do cotidiano e com a confluência que quis fazer entre várias linguagens para abordar um mesmo assunto, no caso a educação, através de outra escrita que ¿não seja o seja o aprisionamento e a morte das significações¿ (AMORIM, 2004, p). A vivência no cotidiano desta ONG mostrou que mesmo que se parta do pressuposto de que a educação não-formal é complementar à educação formal, que seus objetivos são diferentes, ambas devem buscar a construção de um fazer próprio, local, atrelado a uma visão de ensino inovadora / Abstract:This study aimed at knowing and analyzing the day-to-day work developed by an important and well known NGO (non-governmental organization) from São Paulo, the Associação de Meninos do Morumbi - Boys Association of Morumbi, in order to withdraw possible implications from its working methodology for the formal education, so that the success they have reached in educational terms could indicate ways and/or alternatives to improving the quality of teaching in our schools. For the writing of this dissertation different kinds of language were used, among which the literary language, through narratives of my experience in the Association, and the plastic language, through illustrative codes . Besides that, there is an attached CD Rom which illustrates the academic environment in which this work was carried out. It regards an art exhibition that was made real from the interpretation of this work¿s content made by a fine artist. The intention of presenting this study by breaking with the usual forms adopted by the University, has to do with the research in / of the day-t0-day life and with the confluence of several kinds of language to approach the same subject, in this case education, through a different kind of writing that ¿ is not the imprisonment and death of the significations¿ (AMORIM, 2004) The experience in the day-to-day life of this NGO showed that even when one assumes that the non formal education is complementary to the formal education, and that their objectives are different, both must aim at building their own, local way of doing things, coupled with an innovative vision of teaching / Mestrado / Mestre em Educação

Understanding the factors responsible for successful interactions between cultures has been an ongoing investigation among anthropologists, social workers, and organizational psychologists. The need for employees who are able to function effectively across cultures has resulted in a great deal of research examining which factors enable expatriate effectiveness. Despite the necessity of a workforce that is able to function across cultures in today’s global economy, an even greater case can be made for cross-cultural competence (3C) in the U.S. military. The potential for loss of life and international-level consequences is high if our military forces are not adequately prepared. This is why the Department of Defense has identified 3C as a critical determinant of success for military missions. Despite the critical need for military 3C, a review of the literature found no validated instruments developed to assess the readiness of our troops to work closely with foreign nationals and coalition forces in the context of military deployments. As such, the overarching goal of this validation study was to enable the U.S. military to prepare and train its forces in 3C, specifically allowing the military to: (1) better assess troop readiness to engage other cultures; (2) target training to those skills that help achieve missions in the field; (3) design more authentic cross-cultural training exercises; (4) assess the effectiveness of crosscultural training; and (5) guide the development of future cultural training efforts. To that end, a blended approach to scale development was undertaken, whereby critical-incident interviews with subject matter experts informed which of the individual difference predictors from the civilian literatures would likely be applicable to the military domain. Initial administration of the prototype instrument to 792 military members, followed by exploratory factor analysis, revealed six hypothesized factors of 3C. Following scale development, the Cross-Cultural Competence iv Inventory (3CI) was administered to almost 5,000 service members, and the six-factor structure was confirmed as well as cross-validated. Another data collection effort focused on assessing the stability of the six factors over time, via test-retest reliability analysis. A final validation study revealed Cultural Exploration to be a significant predictor of three of the four performance criteria, as rated by supervisors on deployment. Furthermore, this study offered the unique perspective gained by administering two popular civilian instruments along with a military-based tool, providing insight into the nature of military 3C and the ways in which it is similar to, and distinct from, civilian 3C. Additionally, important theoretical contributions may help guide future empirical research and military applications. This study is the initial step in assessing readiness for cultural interaction in the military. The results may serve to guide future efforts in military research in order to support our forces in the field as well as to guide the military establishment in making decisions on training, education, and operations in the context of mission success.

The volcanic area west of Naples known as the Phlegraean Fields, or Campi Flegrei, has been an alluring destination since antiquity. Then as now, it is characterized by monumental ancient buildings, natural hot springs and a gentle climate. Yet the same underground supervolcano that is responsible for its thermal power charges the area with instability. This dissertation centers the Campi Flegrei as a specific environment whose unique properties artists responded to during the early modern period. Picturing this place in a variety of media, they made visible its inherent contradictions—the coexistence of loss with continuity, the entanglement of the natural with the humanmade—and brought these tensions to bear on local history and identity. Manuscripts, prints, maps, and images from printed books form the core body of material discussed. Taking an interdisciplinary and embodied approach, this study draws on the history of medicine, science and the environment and is based in firsthand experience of many of the sites discussed. The first chapter concerns a body of illustrated manuscripts and printed books that figure the bathing sites of the Campi Flegrei. It traces the popularity of Peter of Eboli’s late twelfth-century or early thirteenth-century poem De balneis Puteolanis (On the Baths of Pozzuoli) through the Renaissance and early modern periods, when it was copied and its images elaborated upon. The practice of bathing itself connected people directly to a rich local history, and these images emphasize the potency of that direct physical experience embedded in the landscape. The second chapter brings us to the extensive subterranean spaces of Naples, especially its underground aquatic infrastructure. The viscera of the city played an important role in daily life, but were also fertile settings for stories of the city’s past. This chapter contrasts the lack of imagery figuring the Neapolitan underground with the plethora of artworks showing a more porous relationship between above and below in the Campi Flegrei. The visual identities of Naples and the Campi Flegrei were consistently evolving, but constructed and perceived in relationship to one another. During periods in which Angevin, Aragonese, and early viceregal Spanish rulers attempted to impose a new order on the urban fabric of Naples, the Campi Flegrei were pictured in contrast, as the city’s untamable chthonic neighbor. The third chapter follows specific artists and writers into the Campi Flegrei, where their works turn towards mistaken topographies, visual lacunae, nonlinearity, and loss, teasing out visually the mechanisms by which transformation could come about. Working in an expanded context in which images of the Campi Flegrei and Naples circulated beyond the local, they developed new ways to tether their visual languages in drawings, prints, and paintings to local identity.

Plusieurs publications ont été rédigées dans les dernières années sur l'utilisation des technologies numériques dans les institutions muséales. Leur intégration aux expositions est accompagnée de nombreuses promesses telles que celles d'attirer un public plus jeune, de rendre le contenu plus accessible et ludique, d'impliquer davantage le visiteur, etc. Parmi toutes les études menées dans le domaine muséal, très peu d'auteurs se sont intéressés spécifiquement aux musées militaires. Pourtant, ces musées comportent de nombreuses caractéristiques qui leur sont propres. Ce mémoire propose donc une étude de l'utilisation des technologies numériques, plus précisément des écrans tactiles, par le Musée Royal 22$^\textup{e}$ Régiment pour mettre en valeur son patrimoine militaire matériel et immatériel dans son exposition permanente « Je me souviens ». Plus précisément, le projet de recherche a pour objectif d'identifier quelles étaient les attentes de l'institution lors de l'intégration des écrans à l'exposition permanente et d'évaluer leur efficacité à travers l'analyse de leur consultation par les visiteurs. Le projet vise aussi à cerner les avantages et les désavantages associés à ce type de technologie dans le musée militaire. Pour répondre à la problématique, une étude de terrain a été menée dans le Musée Royal 22$^\textup{e}$ Régiment. Cette étude a recours à plusieurs outils propres à la démarche ethnographique, soit l'observation des visiteurs, la distribution de questionnaires ainsi que la tenue d'entretiens avec les visiteurs et les professionnels. Les résultats indiquent que les écrans tactiles sont bel et bien consultés par la majorité des visiteurs et permettent de mettre davantage en valeur le patrimoine militaire immatériel. Cependant, ce ne sont pas tous les écrans tactiles qui sont consultés. Cette technologie comporte quelques limites telles que la qualité du son et l'absence d'immersion. À partir de ces conclusions, nous croyons que les musées militaires peuvent s'en inspirer pour de futurs projets de médiation intégrant les bornes interactives. / A number of publications have been written in recent years on the use of digital technologies in museums. Their integration into exhibitions is accompanied by many promises, such as attracting a younger audience, making content more accessible and entertaining, getting visitors more involved, and so on. Of all the studies carried out in the museum sector, very few have focused specifically on military museums. However, these museums have many characteristics that are unique to them. Therefore, this thesis proposes a study of the use of digital technologies, more specifically touch screens, by the Royal 22$^\textup{e}$ Régiment Museum to highlight its material and immaterial military heritage in its permanent exhibition "Je me souviens". More specifically, the research project aims to identify the institution's expectations when integrating the screens into the permanent exhibition, and to assess their effectiveness by analyzing how visitors use them. The project also aimed to identify the advantages and disadvantages associated with this type of technology in the military museum. To address this question, a field study was carried out at the Royal 22$^\textup{e}$ Régiment Museum. The study used a number of ethnographic research tools, including visitor observation, surveys and interviews with visitors and professionals. The results show that touch screens are indeed consulted by the majority of visitors and help to enhance the value and experience of immaterial military heritage. However, not all touch screens are consulted. This technology has a number of limitations, such as sound quality and the lack of immersion. Based on these conclusions, we believe that military museums can learn from it for future mediation projects integrating interactive touchscreens.

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«Au commencement, Dieu créa le Ciel et la Terre». À l’ouverture du récit de la Genèse, le plus célèbre des incipit condense ce qui a constitué durant des siècles à la fois l’imagerie et le modèle théorique de la Création du monde en Occident. Or, dès le XVIIe siècle, la conception de la Création s’enrichit de considérations savantes qui bousculent l’univoque de la version biblique. Le récit canonique est alors instruit par les notions profanes d’évolution ou de loi mécanique qui bouleversent l’image biblique d’un Dieu-Créateur du monde en six jours dont la tradition avait longtemps fixé le canon. Pensées au pluriel, les représentations de la Création du monde se diversifient au sein d’une iconographie variée et créative, fruit de la conciliation entre le sacré et le profane qui autorise des représentations inédites où Dieu viendrait souffle rles tourbillons imaginés par Descartes ou encore dynamiser un mécanisme terrestre résolument voltairien. À l’heure de sa complexification théorique, il sera plus particulièrement question d'appréhender la relecture du mythe biblique de la Création du monde dans les arts de la période concernée. À partir d’un corpus d’images tirées de divers horizons – bibliques, scientifiques,alchimiques ou physico-théologiques – l’objet de cette thèse est justement d’appréhender la résilience de l’iconographie biblique dans un monde en pleine sécularisation. Nous verrons notamment comment, autorité latente ou référent stéréotypé, telle une ombre, la figure du Créateur condense toute la complexité des rapports entre l’homme et ses mythes. / “In the beginning God created Heaven and Earth”. Opening of the first chapter of the Genesis,the most well-known incipit of all time sums up both the imagery and the main idea of the Creation of the World that has existed in the west for thousands of years. However, this biblical conception of Creation starts to weaken in the beginning of the XVIIth century and to expand to embrace scientific views when secular ideas of evolution or the laws of mechanics shook the biblical tradition of the six-Day Creation narrative. The once unique idea of a World Creation becomes a more complex concept at the crossroads between sacred and profaneand authorized innovative pictures representing, for example, God blowing the Cartesian cosmogenic whirlpools or giving thrust to the terrestrial mechanism inspired by Voltaire. When the groundbreaking theories on the Creation were published, it was necessary to focus on the artistic reinterpretations of the myth. Based on a great diversity of images – biblical, scientific,alchemical – we’ll try to analyze how biblical iconography stands still at the time of the global secularization of the world in which, as a paradoxical authority or an unconscious standard, the image of the Creator holds up the complex relationship between Man and his Mythology.

La problématique de ce doctorat est : comment la structure des réseaux constitue une nouvelle matrice pour la production d’oeuvres artistiques. Pour répondre à cette question, nous commencerons en étudiant l’évolution de la notion de « réseau » de l’antiquité jusqu’à aujourd’hui ; les théories des réseaux concernant leur structure et/ou leur dynamique. Ensuite nous présenterons les applications –de la notion ou des théories de réseaux– tant dans les sciences que dans l’art. Nous listerons et nous analyserons huit types de réseaux et puis nous mentionnerons des oeuvres artistiques qui ont été inspirées par ces types de réseaux et/ou qui utilisent certains (types de) réseaux comme matrice pour leur création. Nous proposerons le projet Lignes Imaginaires, un modèle 3D qui se fonde sur la conception d’un métro de lignes imaginaires, voire de lignes dynamiques et/ou paradoxales qui sont en mouvement, apparaissent/disparaissent, créent de l’infrastructure supplémentaire. L’analyse du métro Lignes Imaginaires dévoile l'importance de la géographie et de la spatialité des réseaux, tandis que leur représentation graphique topologique reste insuffisante pour la représentation précise et pour la compréhension de leur structure (paradoxale). En outre, l’innovation du métro Lignes Imaginaires est que son infrastructure est dynamique et auto-organisée, contrairement aux métros traditionnels où les lignes et leurs itinéraires sont fixes. L’objectif du projet artistique Lignes Imaginaires est de visualiser un concept en créant un métro hors du commun qui pourrait aussi proposer des formes alternatives des réseaux de transports dans le contexte urbain. / This thesis examines and shows ways in which the structure of networks can provide a new matrix for the production of artworks. In order to answer this question we start by studying: the evolution of the term ‘network’ from the ancient times up to nowadays; the theories that refer to network structure or network dynamics. Then we present the applications of these theories into both art and science. We list and analyze eight different types of networks and then we feature artworks which have been inspired by these network types or have used the network structure of a certain type as a matrix for art making. We propose the Imaginary Lines project, a three-dimensional network model which is based on the concept of a metro composed of imaginary lines. More precisely Imaginary Lines metro network encompasses seven paradoxical lines which move, (dis)appear and produce supplementary infrastructure. The Imaginary Lines metro unveils the importance of geography and spatiality, in contrast with topological network graphic representations, which remain insufficient, in terms of utmost accuracy in representation and comprehension of network structure. Additionally, the Imaginary Lines network innovation lays in its infrastructure dynamics as well as in its self-organisation. The objective of the Imaginary Lines artistic project is to visualise a concept by creating an unusual metro, which goes beyond traditional fixed-route transport networks and can support alternative forms of urban transport development.

Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army all but conquered Europe by 1807. As other nations adopted French methods, Guibert’s influence spread across the Continent, reigning supreme until the 1830s. This dissertation adopts a biographical approach to examine Guibert’s life and influence on the creation of the French military system that led to Napoleon’s conquest of Europe. As no such biography exists in Anglophone literature, such a work will fill a crucial gap in understanding French military success to 1807. It examines the period of French military reform from 1760 to the creation and use of Napoleon’s Grande Armée from 1803 to 1807, illustrating the importance of Guibert’s systemic doctrine in the period. Moreover, the work argues that Guibert belongs in the ranks of authors whose works exerted a primary influence on the French Enlightenment and Revolution by establishing Guibert as a “Great Man” of the Republic of Letters between 1770 and his death in 1790.