This thesis examines the methods and actions of selected Virginians who chose to adopt irregular tactics in wartime, and focuses on the reasons why they fought that way. The presence of the Cavalier image in Virginia had a direct impact on the military exploits of several cavalry officers in both the Revolutionary War and the American Civil War. The Royalist cavalry during the English Civil War gave rise to the original Cavalier image, but as migrants came to Virginia during the seventeenth and eighteenth centuries, the image became a general term for the Southern planter. This thesis contends that selected Virginia cavalry officers attempted to adhere to an Americanized version of the Cavalier image. They either purposefully embodied aspects of the Cavalier image during their military service, or members of the Southern populace attached the Cavalier image to them in the post-war period. The Cavalier thus served as a military ideal, and some cavalry officers represented a romanticized version of the Southern martial hero. This thesis traces the development of the Cavalier image in Virginia chronologically. It focuses on the origins of the Cavalier image and the role of the Royalist cavalry during the English Civil War. After the Royalist migration, and especially during the American Revolution, Virginians like Henry Lee embodied aspects of the Cavalier image during their military careers. Between the end of the American Revolution and the beginning of the Civil War, some Southern authors perpetuated the image by including Cavalier figures in many of their literary works. In the Civil War, select Virginians who fought for the Confederacy personified the Cavalier hero in the minds of many white Southerners. Despite a Confederate defeat, the Cavalier image persisted in Southern culture in the post-Civil War period and into the twentieth century.

L'objectif de cette thèse était d'analyser les interactions entre le dos du cheval et la selle dans les conditions de l'exercice sportif et de développer, à partir de ces connaissances nouvelles, une gamme de selles adaptées au cheval en mouvement et à son cavalier. L'originalité de cette thèse était entre autre de mesurer les mouvements de la colonne vertébrale dans la région thoracique située sous la selle. Un protocole original de mesure biomécanique des interactions entre le dos et la selle a été mis en place et validé. Ce protocole couplait différents matériels (tapis capteur de pression, cinématique 2D, capteur de force d'étrier et centrales de mesure inertielle) synchronisés et miniaturisés. Grâce à ce protocole, il a été possible de quantifier le mouvement de la colonne vertébrale du cheval, les pressions au cours de l'effort et l'effet du cavalier en comparant des selles dites « standard » avec de nouveaux prototypes de « panneaux » permettant de modifier la portance de la selle sur le dos du cheval. Les résultats de ces études ont permis de mettre en évidence l'impact du cavalier sur l'amplitude des mouvements du dos du cheval et sur sa locomotion au cours du trot et de démontrer qu'une selle dont la portance est modifiée provoque des modifications significatives de la locomotion du cheval au trot. Ces travaux ont permis d'apporter des informations quantifiées sur l'effet de la selle et du cavalier sur la biomécanique dorsale du cheval dans la condition montée lors de l'effort. Ces connaissances nouvelles seront utilisées (1) pour la conception de nouvelles selles mieux adaptées au cheval en mouvement et (2) pour mieux comprendre, prévenir et traiter les dorsalgies chez le cheval / The aim of this thesis was to analyze the interactions between the horse’s back and the saddle during exercise and develop, thanks to these new knowledges, a new range of saddle adapted to horse’s movements and to the rider. The originality of this thesis was to measure the movements of the spine in the thoracic region located under the saddle. An innovative protocol was developed to measure the interactions between the back and the saddle using different materials (pressure mat, 2D kinematics, stirrup force sensors, and inertial measurement units) synchronized and miniaturized. With this protocol, it was possible to quantify the movement of the horse’s spine, the pressure under the saddle and the effect of the rider by comparing a “standard” saddle with new prototype “panels” modifying the contact area of the saddle on the horse’s back. The results of these studies have helped to highlight the impact of the rider on the range of motion of the horse’s back and locomotion during the trot and to demonstrate that a saddle, which the contact area is modified, causes significant changes in the locomotion of the horse. This work helped to provide quantified information on the effect of the saddle and the rider on the horse’s back biomechanics in the ridden condition. These new knowledges will be used (1) to design new adapted saddles to the horse in motion and (2) to better understand, prevent and treat back pain in horses

No description available.

Le portrait équestre se définit comme le portrait d’une personne figurée à cheval hors narration.La thèse propose d’identifier et de commenter les raisons, les moyens et les finalités des cent vingt-huit portraits équestres du corpus, réalisés par des artistes italiens entre 1229 et 1511. L’analyse de l’histoire et du concept du portrait équestre italien de la fin du Moyen Age au début de la Renaissance s’articule en deux grandes parties. La première partie présente et décrit les portraits du corpus, en fonction des objets qu’ils constituent et de leurs spécificités matérielles.La seconde partie traite de leur analyse iconographique. Ces effigies qui représentent des détenteurs du commandement militaire constituent un type spécifique de portrait officiel, qui se distingue par la présence fondatrice du cheval. Caractérisé par une forte empreinte martiale, entre le début du XIIIe et le début du XVIe siècle, le portrait équestre se trouve au coeur du choc des imaginaires politiques qui anime la Péninsule. Outil d’affirmation et d’authentification du pouvoir, ce type de portrait officiel est utilisé comme instrument de légitimation, voire de propagande. / Equestrian portraits are defined as the portrait of an individual shown on horseback without any context. The dissertation proposes to identify and comment on the reasons for methods of creation and uses of the 128 equestrian portraits in the corpus of such depictions created by Italian artists between 1229 and 1511. The history and concept of Italian equestrian portraits from the end of the Medieval period to the beginning of the Renaissance are analyzed in two major sections. The first presents and describes the portraits in the corpus on the basis of object type and their specific material characteristics. The second is an iconographic analysis. These effigies which represent military commanders constitute a specific type of official portrait, which is differentiated by the fundamental presence of the horse. Typified by a strong martial imprint,between the beginning of the 13th and the beginning of the 16th century, equestrian portraits are at the heart of the conflict among political imaginations that enlivened the Peninsula at that time. A tool for the affirmation and validation of power, equestrian portraits are used as an instrument of legitimation, even of propaganda.

Made available in DSpace on 2016-04-27T16:58:49Z (GMT). No. of bitstreams: 1 ADRIANA MARIA COZZOLINO.pdf: 4568146 bytes, checksum: 0e32b55df54f9d137d6bfb0530e21ca9 (MD5) Previous issue date: 2008-12-19 / Secretaria da Educação do Estado de São Paulo / This work is inserted in the context of teaching-learning Spatial Geometry in Basic Education, in particular, teaching Perspective by High School students and the relations between three-dimensional objects and their representations in the plain. We have used the dynamic geometry environment, CABRI 3D, considering the limitations existing of the paper and pencil environment. The difficulties of students in relation to three-dimensional representations into two-dimensional environment, were researched by Parzysz (1988, 1989, 1991, 2001), and our work was basis in his theoretical Geometry presuppositions. Our aim is verify how the education of the perspective can help students to change or to articulate different points of view of three-dimensional geometric object. Besides, to notice how CABRI 3D can contribute with them, so that they will articulate the real image and its representations. Design Experiments was adopted as the methodology of this work. It was developed by Steffe and Thompson (2000), Doerr and Wood (2000), Cobb et al (2003) and Collins et al (2004). High School students of a private school of the state of São Paulo participated in this work. Their productions showed that the changes between the paper and pencil (static) environment and the dynamic geometry environment CABRI 3D, contributed so that the students mobilize and articulate knowledge between the image and its representations. Finally, we pretend that this work was used as a tool to enlarge the visualization capacity and to sensitize the look of the students for the representations perspective of three-dimensional objects / A presente pesquisa está inserida no contexto do ensino-aprendizagem da Geometria Espacial na Educação Básica, referindo-se, em particular, ao ensino da Perspectiva para alunos do Ensino Médio e as relações entre os objetos tridimensionais e suas representações no plano. Optamos por utilizar o ambiente de geometria dinâmica CABRI 3D, considerando as limitações no ambiente convencional papel e lápis. As dificuldades dos alunos com relação à representação plana de objetos espaciais são tratados por Parzysz (1988, 1989, 1991, 2001) e estes estudos serviram como referencial teórico para a nossa pesquisa. Procuramos verificar em que medida o ensino da perspectiva pode auxiliar o aluno a mudar ou articular diferentes pontos de vista sobre um objeto geométrico tridimensional e de que forma o CABRI 3D pode contribuir para que articulem a imagem real e suas representações. A metodologia utilizada foi o Design Experiments, fundamentada nos autores Steffe e Thompson (2000), Doerr e Wood (2000), Cobb et al (2003) e Collins et al (2004). Participaram do estudo alunos do Ensino Médio de uma escola particular da cidade de São Paulo. As produções dos alunos mostraram que as variações entre o ambiente papel e lápis (estático) e ambiente de geometria dinâmica CABRI 3D, contribuíram para que eles mobilizassem seus conhecimentos e articulassem entre a imagem e suas representações. Este trabalho foi utilizado como uma ferramenta para ampliar a capacidade de visualização e sensibilizar o olhar dos alunos para as representações em perspectiva, de objetos espaciais