Search for drowned human body by divers is a highly technical dependent, difficult and dangerous work. How to improve this kind of underwater rescue work, under the considerations of the safety of divers and the effectiveness in detection of the target within a limited period of time, is a major subject for fire fighters. For the time being, a normal search and rescue procedure basically includes visual observation of the bank area and surficial water area. In addition, divers are sometimes sent out to complement the search procedure by either visual observation or tactile. A much more efficient way to conduct this kind of recovery activity is to incorporate the state of art of the underwater acoustics technique, such as scanning sonar, into the operation procedures. This investigation was focused on the application of scanning sonar and image analysis techniques as well as seafloor object identification skills for the detection of drowned human body. In addition, safety of divers under water and their activities could be improved and monitored. Remotely operated vehicle (ROV) and towed operated vehicle (TOV) should be incorporated into the normal search procedure for the purpose of improving target identification in the future. Under this circumstance, both target searching rate and divers¡¦ safety could be effectively improved or guaranteed. The proposed procedure which incorporated both acoustical (i.e., scanning sonar) and optical (i.e., ROV or TOV) apparatus are expected to simplify and improve the underwater target search and identification activities and will allow fire fighters a more professional and safety way in conducting drowned human body recovery activities.

Reproduction de : Thèse de doctorat : Génie civil : Lille 1 : 2005. / N° d'ordre (Lille 1) : 3607. Titre provenant de la page de titre du document numérisé. Bibliogr. [23] p.

This study examined the informal learning strategies of individuals who were among the first to belong to the original small group of British Columbian recreational divers. These individuals included breath-hold divers, users of Oxygen Re-breathers, and users of Self Contained Underwater Breathing Apparatus (scuba). Through the narratives provided by the divers themselves and other corroborative evidence, this qualitative investigation looked at who the divers were and how they approached learning to dive in this context of informal learning: that is, how they learned about and acquired the skills and knowledge needed for diving, and the changes in attitude and aspirations they acquired which stemmed from those learning activities.

Thesis (M.S.)--University of Wisconsin-Green Bay, 2004. / Includes bibliographical references (leaves 63-65). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.S.)--University of Wisconsin-Green Bay, 2004. / Includes bibliographical references (leaves 63-65).

x, 30 leaves ; 28 cm Notes Typescript Thesis (M.S.)--University of Oregon, 1983 Includes vita and abstract Bibliography: leaves 28-30 Another copy on microfilm is located in Archives

Édouard Glissant est un poète complet, le sel du Divers.C’est dans ses rapports à Victor Segalen (celui qui lui a donné le mot de Divers) mais aussi avec William Faulkner et Saint-John Perse que nous exposons tout d’abord les origines du Divers glissantien. Dans cette première partie, il nous est déjà permis d’entrevoir sa fabrique de l’auctorialité, c’est-à-dire le procès de son inscription en littérature. Afin de mieux situer notre approche, il importait d’emblée, s’agissant de l’examen d’une œuvre hors norme, de poser dans le même balan la question du genre chez Glissant: sa philopoétique ; c’est notre façon de nommer le discours « entre philosophie et poétique » d’Édouard Glissant.Nous émettons l’hypothèse que cette philopoétique privilégie la poésie ; que le corpus de poésie de Glissant constitue le noyau de son œuvre. Cette poésie fut d’abord publiée de manière éparse et comme enfouie sous un foisonnement générique, puis elle fut enfin rassemblée en « Poèmes complets ». C’est tout l’objet de notre deuxième partie : une étude formelle consacrée à la poésie de Glissant. Il s’agit d’une analyse autour de Poèmes complets, dans la mesure où il ne faudrait pas couper cette poésie de ses ramifications avec le restant de la philopoétique glissantienne.Dans une troisième partie, notre propos est cette fois d’interroger plus spécifiquement le sens du Divers glissantien, puisqu’il se situe au cœur de son engagement poétique. Pour représenter ce Divers gouverneur de sa poétique Glissant recourt souvent à des philosophèmes tout autant qu’à des personnages, des paysages, des métaphores ou des allégories, car sa palette de philopoète est, par définition, multiple et en symbiose avec d’autres pensées et visions sensibles du monde.À partir de cette thématique du Divers chez Glissant s’appuyant sur la dynamique textuelle de sa philopoétique, il nous est donné de saisir (à la fois de façon globale et fragmentée) toute l’étendue de son expression. / Édouard Glissant is a full poet, salt of Diverse.It is in its relationship to Victor Segalen (who gave him the word Diverse) but also with William Faulkner and Saint-John Perse that we first expose the origins of glissantian Diverse. In this first part, we already provide a glimpse into his factory of authorship, that is to say, the process of his registration in literature. To better situate our approach, it was important before all, with regard to the consideration of a non standard work, to raise at the same time the question of gender impulse in Glissant’s work: his philopoetics : it is our way of naming the discourse “between philosophy and poetry” of Édouard Glissant.We hypothesize that this philopoetics favors poetry ; that the corpus of poetry is the core of his work. This poetry was first as dispersed and buried under a flurry generic, then it was finally gathered in “Collected poems”. It is the second part of our subject : a formal study devoted to Glissant’s poetry. This is an analysis around Collected poems, insofar we should not cut this poetry from its ramifications with the rest of Glissant’s philopoetics.In a third part, our purpose this time is to examine more specifically the meaning of glissantian Diverse, since it lies at the heart of his poetic engagement. To represent this Diverse governing of his poetics, Glissant often uses philosophemes just as much of characters, landscapes, metaphors or allegories, as its range of philopoet, is, by definition, multiple and in symbiosis with other thoughts and sensitive world’s visions.From this Glissant’s Diverse theme based on the textual dynamics of its philopoetics, we get the opportunity to access (both globally and in fragmented manner) to the full extend of its expression.

This study examined the informal learning strategies of individuals who were among the first to belong to the original small group of British Columbian recreational divers. These individuals included breath-hold divers, users of Oxygen Re-breathers, and users of Self Contained Underwater Breathing Apparatus (scuba). Through the narratives provided by the divers themselves and other corroborative evidence, this qualitative investigation looked at who the divers were and how they approached learning to dive in this context of informal learning: that is, how they learned about and acquired the skills and knowledge needed for diving, and the changes in attitude and aspirations they acquired which stemmed from those learning activities. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

Notre représentation collective du fait divers a considérablement évolué au tournant des années 80 ; ainsi que le signale Marine M’sili, « si unanimement décrié, fustigé, condamné, [il] voit son statut se modifier jusqu’à prendre une valeur positive », y compris chez l’élite intellectuelle. Dans ce même tournant des années 80, la littérature évolue, selon Dominique Viart, vers la « transitivité », c’est-à-dire qu’elle ne se suffit plus à elle-même et nécessite un complément d’objet direct, le monde. Ce double « tournant » favorise la fréquence et le renouvellement des modalités de rencontres entre littérature et fait divers.Cette thèse se situe dans le prolongement de ces travaux mais vise plus spécifiquement à manifester l’importance des métamorphoses du fait divers criminel tel que recyclé dans la littérature contemporaine. Le corpus sélectionné comprend vingt-cinq œuvres à valeur d’échantillonnage, publié dans la période 1990-2012. Par une analyse des influences et des modalités de l’enquête et une exploration relevant à la fois de la criminologie littéraire et du mémorial aux victimes, la thèse démontre la richesse et la diversité des écritures du fait divers aujourd’hui.En effet, le renouveau du traitement de cette matière, ouvert aux avancées des sciences humaines, a majoritairement rompu avec les esthétiques réalistes du XIXe siècle aussi bien qu’avec les usages plus ludiques et expérimentaux du XXe siècle. De même, bon nombre d’écrivains se refusent à perpétuer la tradition paralittéraire et médiatique du monstrueux archaïque au profit de mises en questions socio-historiques et d’interrogations plus posées quant à la monstruosité, logée au vif de notre humanité. / Our collective representation of the « fait divers » underwent considerable revision in the early 1980s, as Marine M’Sili points out : « from being universally decried, denounced and censured, [it] sees its status change to the point of taking on a positive value », even among the intellectual elite. At the same time, according to Dominique Viart, literature takes on a new « transitivity »; it is no longer self-sufficient but requires a direct object, the world. These two developments provide a meeting ground where new and more frequent interactions between literature and the « fait divers » can take place. This thesis builds on these insights but aims more specifically to demonstrate the significance of the changes that the criminal « fait divers » undergoes as it is recycled in contemporary French literature. The sample corpus includes twenty-five representative works, all published in the period from 1990 to 2012. Through an analysis of investigation procedures and their influence, and an exploration that is part literary criminology and part commemoration of the victims, the thesis demonstrates the richness and diversity of the literary « fait divers » today. Indeed, the revival of interest in the topic, in tune with advances in the humanities, has for the most part broken both with the realist aesthetics of the nineteenth century and with the twentieth century’s more playful and experimental approaches. Many writers have also abandoned the traditional paraliterary and media representations of an archaic monstrosity in favour of a broader socio-historical reflection and more pointed questioning of the monstrousness that lies at the very heart of our humanity.

Com base nas proposições da semiótica de vertente tensiva, esta tese se ocupa da análise e da teorização do fait divers, categoria jornalística que se refere a eventos de caráter fortuito. O corpus da pesquisa constitui-se primordialmente da cobertura do Caso Isabella Nardoni, compreendido sob a rubrica dessa expressão, realizada pelo Jornal Nacional nos meses de março, abril e maio de 2008. Também compõem o corpus da investigação outros relatos jornalísticos dessa natureza, tanto os que se pautam por uma curta duração quanto aqueles que repercutem na mídia por um período considerável. Em relação ao caso aludido, impôs-se a questão teórica que se refere à pouca duração que um relato noticioso de tal categoria costuma ter. Ao contrário, ele arrastou-se por meses a fio no primeiro semestre de 2008, mantendo, não obstante, uma elevada carga tímica. Dessa forma, procurouse buscar nos mecanismos do discurso as estratégias usadas pelo enunciador Jornal Nacional para extensivizar a intensidade do Caso Isabella Nardoni, o qual se baseia numa estrutura acontecimental e que, por definição, deveria ser muito intenso, mas pouco extenso. Para tanto, a pesquisa se valeu dos seguintes eixos analíticos: concessão e fidúcia, duração e intensidade, a paixão coletiva da comoção e, por fim, relações intertextuais e interdiscursivas que o texto em análise permite estabelecer com outros textos/discursos. Os referidos eixos cumpriram cada qual a tarefa de responder parcialmente o porquê de, a despeito do transcurso da temporalidade, a intensidade em torno do caso enfocado ter sido duradoura. A partir deles, pôde-se depreender um enunciatário em cujo campo de presença a tonicidade se projeta sobre a temporalidade, criando um efeito de persistência. Tal enunciatário é ainda marcado por uma espera tensa, que quer atenuar o impacto do acontecimento, ao mesmo tempo em que ele reverbera ou irrompem novos microacontecimentos. Verificou-se também a presença de um enunciatário comovido, cujo estado emocional funciona à maneira de uma amálgama, fazendo dele parte de um todo coletivo, social. Esse mesmo enunciatário mostra-se modalizado por um querer-saber, cuja expectativa é também sobre determinada por outros textos e discursos com os quais o caso em questão estabelece relações intertextuais e interdiscursivas. É, em suma, um enunciatário que se configura na tensão e na complexidade dos eixos da intensidade e da extensidade, o que explica a duração extensa do Caso Isabella Nardoni. Quanto à leitura semiótica dos demais faits divers, puderam ser observadas as seguintes (in)variantes: todos se ancoram numa base concessiva, todos são perpassados por uma lógica passional, patêmica. Entretanto, nem todos se pautam por um longo período de repercussão. Pelas recorrências observadas no corpus, balizadas pelas esquizias tensivas primordiais intensidade e extensidade, foram depreendidas as categorias duração (do menos durativo ao mais durativo) e memória (do menos memorável ao mais memorável), além do elemento constitutivo paixões. A partir disso, pôde-se fundamentar uma abordagem tensiva do fait divers. Finalmente, a análise de um relato noticioso durativo, raro, que, por meio da estratégia discursiva que extensiviza o intenso, demonstrou de que maneira pode ser possível uma articulação dos regimes discursivos do acontecimento e do exercício a partir de um ponto de vista tensivo e, portanto, complexo / Based on the propositions of tensive semiotics, this thesis is concerned with analysing and theorizing the fait divers, a journalistic category that refers to fortuitous events. The corpus of the research primarily consists of the cover of the so-called Isabella Nardoni Case conducted by Brazilian television news program Jornal Nacional in March, April and May 2008. Other journalistic reports of the same nature also comprise the corpus of research, both those outlined in a short duration and those that impact on the media for a considerable period. Regarding the mentioned case, a theoretical question prevailed that refers to little if any lasting that a news report in this category usually has. Instead, it dragged on for months in the first half of 2008, whilst retaining a large thymic load. Thus, we tried to search in discourse mechanisms the strategies used by the enunciator Jornal Nacional to extensiveing the intensity of Isabella Nardoni Case, which is anchored in an event structure and, by definition, should be very intense but little extensive. Therefore, the research employed the following analytical axes: concession and confidence, duration and intensity, the collective passion of the commotion and, finally, intertextual and interdiscursive relations with other texts/discourses that the text under analysis allows to establish. These analytical axes fulfilled the task of partially answer why, despite the passing of temporality, the intensity surrounding the focused case was lasting. From them, we could deduce an enunciatee in whose presence field tonicity is projected on temporality, creating an effect of persistence. This enunciatee is also marked by a tense wait, who wants to soften the impact of the event, while it reverberates or triggers new micro-events. The presence of an affected enunciatee was also observed, whose emotional state works in the manner of an amalgam, making him a part of a collective, social whole. The same enunciatee proved modalized by a want-to-know whose expectation was also overdetermined by other texts and discourses with which the case in question established intertextual and interdiscursive relations. He is, in short, an enunciatee that is configured in the tension and complexity of the axes of intensity and extent which explains the considerable duration of Isabella Nardoni Case. As for the semiotic reading of other faits divers, we could observe the following (in) variants: all of them are stand on a concessive basis, all pervaded by a passionate logic. However, not all are marked by a considerable duration. Through the recurrences observed in the corpus, marked out by a sine qua non relationship between intensity and extent, we inferred the categories duration (from least to most durative) and memory (from least to most memorable), and also the constitutive element passions. From this we could substantiate a tensive approach to fait divers. Finally, the analysis of a durative, rare, news report which through the discursive strategy extensivize the intensity demonstrated how an articulation of discursive regimes of the event and exercise from a tensive and therefore complex point of view may be possible.