The classical pastoral was an accredited genre in antiquity usually associated with a series of contrasts between the country and the city or between the supposedly natural and artificial worlds. With the decline in allegorical writing, however, the Restoration's neo-classical translators, especially Thomas Creech (Theocritus, l684) and John Dryden (1697), offered a pastoral with most of the potentially ironic commentaries on contemporary life either softened or erased altogether. Creech's Theocritus is free of the Doric alternations between the Heroic (Idyll I) and Rustic (idylls h and 5). Dryden's Eclogues pay homage to a transcendent classicism calculated to contrast with post-Revolution beliefs in limited traditions of authority. These two images of the classical pastoral provide one facet unacceptable to neσ-classicism (Theocritean rusticity) and one which casts doubt on its bucolic status altogether (Virgilian artifice). This dualism in the classical legacy is seen as rooted in opposed definitions of "simplicity", one a lyrical and affective quality, the other paying testimony to the classical past by imitating what was taken to be its bolder and enduring melodies. The foundation of the Modern variety, as exemplified by Ambrose Philips (1709), lies in its depiction of indigenous shepherds and their freedom from the classical, but not the rustic (Spenser and Theocritus). Alexander Pope's Pastorals (1709), on the contrary, demonstrate an Ancient preoccupation with a current culture’s indebtedness to its traditional sources of inspiration. His Strephons or Alexises wander amongst Windsor/Mantuan groves. The disappearance of much fresh neo-classical pastoral writing is then studied, especially in the mock-forms of the years I7IO-I6, particularly John Gay's The Shepherd's Week (I7l4). Within the Ancient pastoral Gay discovers sentiments incommensurate with contemporary rural poverty and so obviously redundant mimetically, but also an "unofficial" gusto in Theocritus and less imitated material that points forward to the particularity of the georgic. In short, Gay's mock-pastoral work, in the service of the prevailing Landed Interest, not only uncovers urban corruption but also the deceptions of the Ancient mode. In Purney's Theocritean pastorals (1717) and Ramsay's Scots Doric (1723-28), it is the Theocritean example which survives, not the more celebrated Eclogues of Virgil.

Ces travaux entendent soumettre à l’épreuve des textes fin-de-siècle d’Arthur Machen (1863-1947) deux hypothèses : celle d’une appartenance au décadentisme et au symbolisme, d’une part, et celle d’un principe de consistance régulant les tensions qui sous-tendent son œuvre mineure, d’autre part, celle-ci mêlant les pratiques issues des corpus sapientiaux de la Bible et des récits intertestamentaires aux rites thérianthropiques du totémisme primitif. Le syncrétisme entre christianisme et paganisme ainsi que l’oscillation entre ascétisme apollonien et esthétisme dionysiaque reflètent aussi bien la résilience que les pathologies de l’artiste, qui façonne à la manière d’un homo faber des Künstlerromane et des autoportraits révélant sa nature protéenne. Inspirés des multiples courants artistiques jalonnant l’époque victorienne, les textes de Machen composés au tournant du siècle font de lui un auteur difficile à classer et trop souvent étiqueté parmi les écrivains gothiques et fantastiques – indétermination générique notamment due à l’anthologisation de son œuvre et nécessitant un travail de fouille dans des domaines variés tels que l’archéologie, l’anthropologie et l’ethnologie. La nouvelle, le roman par épisodes, le conte et le poème en prose en particulier deviennent des formes expérimentales où les diaristes établissent les prémices de l’écriture automatique des surréalistes. Perçu tantôt comme l’emblème de la contagion héréditaire, tantôt comme le héraut d’une civilisation décadente, l’artiste porte plusieurs masques que parasitent les fausses pistes laissées par l’auteur. Ayant exploré l’hypothèse d’un Machen poète, théologien, puis essayiste et théoricien du Beau, il sera possible, dès lors, de comprendre le décalage qui oppose la fiction et la vie de ce fervent anglican de la Haute Église, de cet époux fidèle qui cultive néanmoins, dans ses textes, des fantasmes paraphiliques, des rêves de l’Orient et de la Grèce ou, au contraire, des itinéraires pénitentiels douloureux régis par une tradition galloise médiévale supposant autoflagellation et jeûnes anorexiques. Loin de représenter un « calice vide », la liturgie devient chez Machen un pouvoir sacré, comme l’atteste la corrélation entre l’humiliation du corps et l’élévation de l’esprit dans The Hill of Dreams. En revendiquant également la richesse d’une culture galloise minoritaire, Machen participe au « Celtic Revival » et compose des chroniques du Gallois déraciné, exilé à Londres, tentant de survivre à un environnement urbain hostile en le reterritorialisant, spatialement et temporellement. / The present study sustains an analogy between the fin-de-siècle texts of Arthur Machen and the aesthetics of Decadence and Symbolism, first, and a principle of consistency regulating the tensions that underlie his minor works – id est, the customs originating from the sapiential corpus of the Bible and the intertestamental narratives being blended with the therianthropic rites of primitive totemism. The syncretism between Christian and Pagan rites and the oscillation between Apollonian ascesis and Dionysiac aestheticism mirror the resilience as well as the pathologies of the artist in his Protean Künstlerromane and self-portraits. Inspired by the numerous artistic currents of the Victorian age, Machen’s turn-of-the-century texts are quite complex to classify and account for the too frequent association made between his style and that of Gothic or Fantastic authors. This generic indetermination, notably triggered by the anthologization of Machen’s texts, requires a work of investigation in diverse domains such as archaeology, anthropology and ethnology. Episodic novels, short stories, tales, and prose poems, in particular, become experimental diaries foreshadowing the Surrealists’ automatic writing. Deemed to be either the emblem of hereditary contagion or the herald of a decadent civilization, the artist wears several masks which are further distorted by the author’s misleading autobiographical hints. After showing that Machen is not only a poet but also a theologian and an essayist and a theorician on aesthetics, it will be possible to understand the discrepancy between the fiction and the life of a fervent High-Branch Anglican, a faithful husband who nevertheless cultivated, in his texts, paraphilic fantasies, dreams of a new Orient and an Ancient Greece, or quite the contrary, extreme penitential itineraries grounded in a Medieval Welsh tradition requiring self-flagellation and anorexic fasting. Far from representing a “chalice empty of wine”, liturgy becomes a sacred power as the correlation between physical losses and spiritual gains in The Hill of Dreams shows. By championing the beauty of a minor Welsh culture, Machen partook in the “Celtic Revival” and wrote the chronicles of uprooted Welsh subjects exiled in the hostile environment of fin-de-siècle London and striving to reterritorialize its spatial and temporal constitution.

Des sites de visionnement de contenu audio-vidéo en temps-réel comme YouTube sont devenus très populaires. Le téléchargement des fichiers audio/vidéo consomme une quantité importante de bande passante des réseaux Internet. L’utilisation de codecs à bas débit permet de compresser la taille des fichiers transmis afin de consommer moins de bande passante. La conséquence est une diminution de la qualité de ce qui est transmis. Une diminution de qualité mène à l’apparition de défauts perceptibles dans les fichiers. Ces défauts sont appelés des artifices de compression. L’utilisation d’un algorithme de post-traitement sur les fichiers sonores pourrait augmenter la qualité perçue de la musique transmise en corrigeant certains artifices à la réception, sans toutefois consommer davantage de bande passante. Pour rehausser la qualité subjective des fichiers sonores, il est d’abord nécessaire de déterminer quelles caractéristiques dégradent la qualité perceptuelle. Le présent projet a donc pour objectif le développement d’un algorithme capable de localiser et de corriger de façon non intrusive, un artifice provoqué par des discontinuités et des incohérences au niveau des harmoniques qui dégrade la qualité objective dans les signaux sonores compressés à bas débits (8 – 12 kilobits par seconde).

Approved for public release, distribution is unlimited / The attack of choice for a professional attacker is system subversion: the insertion of a trap door that allows the attacker to bypass an operating system's protection controls. This attack provides significant capabilities and a low risk of detection. One potential design is a trap door that itself accepts new programming instructions. This allows an attacker to decide the capabilities of the artifice at the time of attack rather than prior to its insertion. Early tiger teams recognized the possibility of this design and compared it to the two-card bootstrap loader used in mainframes, since both exhibit the characteristics of compactness and adaptability. This thesis demonstrates that it is relatively easy to create a bootstrapped trap door. The demonstrated artifice consists of 6 lines of C code that, when inserted into the Windows XP operating system, accept additional arbitrary code from the attacker, allowing subversion in any manner the attacker chooses. The threat from subversion is both extremely potent and eminently feasible. Popular risk mitigation strategies that rely on defense-in-depth are ineffective against subversion. This thesis focuses on how the use of the principles of layering, modularity, and information hiding can contribute to high-assurance development methodologies by increasing system comprehensibility. / Civilian, Naval Postgraduate School

Trata-se de investigar a autoridade civil como fruto de convenção e artifício, bem como a sua relação com o estabelecimento da lei e do comércio no pensamento de Hume. A influência recíproca entre o artifício político e estes dois elementos é abordada como produtora de liberdade, que diz Hume no ensaio Da origem do governo ser a \"perfeição da sociedade civil\". A ideia, assim, é expor como a autoridade, inicialmente arbitrária, concorre não apenas para a superação de problemas de cooperação e escassez, como também se mostra passível de uma ordenação geradora de regularidade, liberdade e florescimento humano. / This is an investigation of political authority as a product of convention and artifice, as well as of its relation with the establishment of law and commerce in the thought of Hume. The reciprocal influence between the political artifice and these two elements is addressed as productive of regularity and liberty, which Hume describes in the essay Of the Origin of Government as being the perfection of civil society. Thus, the idea is to show how authority, initially arbitrary, concurs not only in the overcoming of cooperation and scarcity problems, but also reveals itself as liable to an order generative of liberty and human flourishing.

In the age of an overworked society, struggling to emotionally connect, play is essential. Ludic Landscapes, explores the reenchantment of undervalued landscapes, in particular the industrial site of the Canadian Pacific Railway yards in Winnipeg, Manitoba, Canada. If carnivals are landscapes devoted to play, as rail yards are landscapes devoted to work and industry, what happens when play is brought into a landscape of work? This practicum examines how ludic activities can be integrated into a landscape previously devoted to work - resulting in a reenchantment of an industrial landscape. The term reenchantment implies a positive change in perspective, an emergence of magic, toward something formerly disregarded. The explorations of undervalued and overlooked landscapes within the urban environment begin to unearth a curious history. Many carnival rides of the past germinate from technology developed for work, industry and progress. When the carnival is liberated of its artifice, its heart is shown to be machine technology utilized for work. It is possible to put these amusement rides through one more evolution, to make them not only fun, but also functional. The marriage of work and play results in remediating and reenchanting the landscape through ludic activity, spectacle and wonder. This is a poetic act.

In the age of an overworked society, struggling to emotionally connect, play is essential. Ludic Landscapes, explores the reenchantment of undervalued landscapes, in particular the industrial site of the Canadian Pacific Railway yards in Winnipeg, Manitoba, Canada. If carnivals are landscapes devoted to play, as rail yards are landscapes devoted to work and industry, what happens when play is brought into a landscape of work? This practicum examines how ludic activities can be integrated into a landscape previously devoted to work - resulting in a reenchantment of an industrial landscape. The term reenchantment implies a positive change in perspective, an emergence of magic, toward something formerly disregarded. The explorations of undervalued and overlooked landscapes within the urban environment begin to unearth a curious history. Many carnival rides of the past germinate from technology developed for work, industry and progress. When the carnival is liberated of its artifice, its heart is shown to be machine technology utilized for work. It is possible to put these amusement rides through one more evolution, to make them not only fun, but also functional. The marriage of work and play results in remediating and reenchanting the landscape through ludic activity, spectacle and wonder. This is a poetic act.

Trata-se de investigar a autoridade civil como fruto de convenção e artifício, bem como a sua relação com o estabelecimento da lei e do comércio no pensamento de Hume. A influência recíproca entre o artifício político e estes dois elementos é abordada como produtora de liberdade, que diz Hume no ensaio Da origem do governo ser a \"perfeição da sociedade civil\". A ideia, assim, é expor como a autoridade, inicialmente arbitrária, concorre não apenas para a superação de problemas de cooperação e escassez, como também se mostra passível de uma ordenação geradora de regularidade, liberdade e florescimento humano. / This is an investigation of political authority as a product of convention and artifice, as well as of its relation with the establishment of law and commerce in the thought of Hume. The reciprocal influence between the political artifice and these two elements is addressed as productive of regularity and liberty, which Hume describes in the essay Of the Origin of Government as being the perfection of civil society. Thus, the idea is to show how authority, initially arbitrary, concurs not only in the overcoming of cooperation and scarcity problems, but also reveals itself as liable to an order generative of liberty and human flourishing.

Orientador: Jose Oscar de Almeida Marques / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-08T09:45:42Z (GMT). No. of bitstreams: 1 Oliveira_RobertoCarlosde_M.pdf: 869957 bytes, checksum: 84dfc9f7bd0b859f8e3f9732972d6f23 (MD5) Previous issue date: 2007 / Resumo: A análise de David Hume (1711-1776) vincula a epistemologia, a moral e a política de forma tal que a sociedade é apresentada como resultado da interação entre as faculdades naturais dos homens e os recursos artificiais decorrentes da reflexão. O artifício denota as invenções refletidas e voluntárias que ampliam as perspectivas da natureza humana, ou seja, os mecanismos de sociabilização do homem que promovem seu desenvolvimento social, situando-o no universo da moral e da política e adaptando seus interesses particulares ao interesse público. A essência do artifício reside na capacidade humana de dominar seus impulsos mediante a sublimação, que direciona os desejos para uma perspectiva estável de satisfação. Nesse sentido, ele amplia as possibilidades de realização do homem, além de cooperar na manutenção da sociedade. Este estudo pretende mostrar como Hume compõe uma filosofia que analisa a sociedade a partir das implicações e desdobramentos de princípios naturais e mostrar como o artifício estabelece um vínculo entre a moral e a política, entre os interesses particulares dos indivíduos e os interesses gerais da sociedade, contribuindo para o estabelecimento das instituições sociais e da autoridade / Abstract: The analysis of David Hume (1711-1776) entail the epistemology, the morals and the politics so that the society is presented like the result of interaction between the natural faculties of men and the artificial recourses current from reflexion. The artifice connotes the reflected and voluntary inventions that ampliflies the perspectives of human nature, that is, the mechanisms of sociabilization of man which promote their social development, placing them in the universe of morals and politics and adapting their particular interests to the public interest. The essence of the artifice resides in the human capability to dominate their impulses through sublimation, which directionates the desires to an estable perspective of satisfaction. In this sense, it amplifies the possibilities of man's realization, yonder to collaborate with the maintenance of society. This study intends to display how Hume composes a philosophy which analyses the society from the implications and unfoldments of natural principles and to indicate how the artifice establishes an entailment between moral and politics, between the particular interests of individuals and the general interests of society, contributing to the establishment of social instituitions and the authority / Mestrado / Ética e Política / Mestre em Filosofia

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