Cette thèse porte sur le comportement en temps long de solutions d’équations de type Vlasov, principalement le modèle Vlasov-HMF. On s’intéresse en particulier au phénomène d’amortissement Landau, prouvé mathématiquement dans divers cadres, pour plusieurs équations de type Vlasov, comme l’équation de Vlasov-Poisson ou le modèle Vlasov-HMF, et présentant certaines analogies avec le phénomène d’amortissement non visqueux pour l’équation d’Euler 2D. Les résultats qui y sont décrits sont les suivants. Le premier est un théorème d’amortissement Landau pour des solutions numériques du modèle Vlasov-HMF, obtenues par discrétisation en temps de ce dernier via des méthodes de splitting. Nous prouvons en outre la convergence des schémas numériques. Le second est un théorème d’amortissment Landau pour des solutions du modéle Vlasov-HMF linéarisé autour d’états stationnaires inhomogènes. Ce théorème est accompagné de nombreuses simulations numériques destinées à étudier numériquement le cas non-linéaire, et semblant mettre en lumière de nouveaux phénomènes. Enfin, le dernier résultat porte sur la discrétisation en temps de l’équation d’Euler 2D par un intégrateur de Crouch-Grossman symplectique. Nous prouvons la convergence du schéma. / This thesis concerns the long time behavior of certain Vlasov equations, mainly the Vlasov- HMF model. We are in particular interested in the celebrated phenomenon of Landau damp- ing, proved mathematically in various frameworks, foar several Vlasov equations, such as the Vlasov-Poisson equation or the Vlasov-HMF model, and exhibiting certain analogies with the inviscid damping phenomenon for the 2D Euler equation. The results described in the document are the following.The first one is a Landau damping theorem for numerical solutions of the Vlasov-HMF model, constructed by means of time-discretizations by splitting methods. We prove more- over the convergence of the schemes. The second result is a Landau damping theorem for solutions of the Vlasov-HMF model linearized around inhomogeneous stationary states. We provide moreover a quite large amount of numerical simulations, which are designed to study numerically the nonlinear case, and which seem to show new phenomenons. The last result is the convergence of a scheme that discretizes in time the 2D Euler equation by means of a symplectic Crouch-Grossmann integrator.

Dissertation work Andrej Krob follows Krob`s remarkable journey to theatre from meeting Vaclav Havel during his military service in 1957, through Krob`s arrival to Divadlo Na zabradli in the early sixties of 20th century and especially his collaboration with director Jan Grossman, next to who Krob gradually work his way up from stage technician to the director. From the numerous Krob`s productions is the attention paid to the very first one, almost unknown directorial act, student production of Kral Ubu, presented on chateau Breznice in 1964, however this dissertation is mostly dedicated to the selected and key Krob`s productions of Vaclav Havel`s plays. Meeting this author was for Krob personaly as well as for his directorial poetics progress entirely fundamental. That`s why this work describes and analyses in detail semi illegal production of Havel`s play Zebracka opera, presented by Krob in Horni Pocernice in 1975, which has became establishing production of Divadlo na tahu, as well as Krob`s production of the same play from 1995. Separate chapter of dissertation has been also dedicated to Krob`s video production of Havel`s play Pokouseni from 1988 that brings unique opportunity of artistic performance observation. This dissertation determines at the very end, based on in-depth analysis of the...

This project describes the role of ritual in the basic entrainment processes of Canadian soldiers. Building on the ecological systems theories of Urie Bronfenbrenner and Roy Rappaport, this project construes human adaptation to occur within multiple interdependent planes of ordered biological, sociostructural, psychosocial and symbolic (even transcendent) meanings and interactions within integrated social ecologies or “living systems.” Rappaport’s theory supports the argument that invariant, embodied actions and impulses not encoded by ritual performers establish social order, values, motivations, competencies, dispositions and representational or symbolic meanings—understood within this project as worldview—circulating within and regulating integrated human ecologies. Ordered sequences of invariant actions and impulses have also come to be conveyed within human phylogenic and ontogenetic developmental processes. This project specifically explores the hypothesis that embodied ritual dynamics pervade the basic entrainment rite of Canadian soldiers. The analysis draws on the ritual theory of Rappaport and the psychosocial developmental theory of Erik Erikson to describe the manner in which innate social regulating impulses and liturgically ordered ritual processes are exploited, in conjunction with predictable human psychosocial developmental imperatives, to build foundational martial dispositions, a spontaneous impulse to radical solidarity and a robust, homogeneous and multivocalic worldview in Canadian soldiers. Such a worldview is adaptive to all aspects of service within the Canadian Armed Forces. The rudimentary martial worldview inscribed upon recruit soldiers and officer candidates forms the foundational background to all subsequent martial meaning and adaptation in so far as it is collectively maintained throughout the military career. This argument maintains that a ritual analysis of adaptive meaning and solidarity among soldiers has profound implications for the structure and direction of future research investigating the persistent and well documented rates of distress, maladaptation and health pathology among serving members of the Canadian Armed Forces.

This dissertation presents a holistic framework for approaching fantastic school stories: that is, narratives which feature the protagonist’s education in magic. This three-part framework attends to the ways in which the fantastic school story subgenre draws upon the characteristics and possibilities of the school story genre, fantastic literature, and representations of education – in which a hidden curriculum is always inherently present – to create unique opportunities for representing and foregrounding issues and structures within educational institutions and the relationship between education and power. Employing this lens allows for a more nuanced and complex consideration of the impact of fantastic elements in these narratives, examining the ways in which such elements exaggerate, embody, or enforce underlying ideologies and norms and offer encouragement to readers to interrogate these aspects of the text and the mundane educational experiences they encounter. This framework is then used to analyse representative texts in the subgenre and explicate the hidden curriculum of each: ideologies of immutable gender and identity in Jane Yolen’s Wizard’s Hall; the use of testing as a gatekeeping measure to reinforce Pureblood supremacy in J.K. Rowling’s Harry Potter series; the prerequisite of economic capital to access education, undermining the myth of post-secondary studies as social mobility, in Patrick Rothfuss’s Kingkiller Chronicles; the violence of imperial educational institutions in Lev Grossman’s Magicians trilogy; and the vocational habitus of witchcraft, including gendered divisions and expectations of personal sacrifice, on the Discworld in Terry Pratchett’s “Tiffany Aching” quintet. This framework and these illustrative analyses, by explicating the structures underlying the protagonists’ education and the ways in which they are thereby limited, participate in the projects of developing an emancipatory approach to children’s literature and in consciousness-raising regarding hidden curricula in education. / Dissertation / Doctor of Philosophy (PhD) / Texts in the fantastic school story subgenre – that is, narratives about a young person learning how to use magic, often at a school – are a valuable opportunity to explore the relationship between power and education. Here, I present a three-part approach for reading these texts which looks at how these narratives combine elements of the school story genre, fantasy literature, and representations of education to create a unique format. This unique format makes it easier for readers to see underlying structures and issues in education by making familiar elements feel unfamiliar through the addition of magic. I then use this three-part approach to analyse fantastic school stories by Lev Grossman, Terry Pratchett, Patrick Rothfuss, J.K. Rowling, and Jane Yolen. Reading the texts through this lens brings forward issues related to education like gate-keeping, socioeconomic status, imperialism, and gendered norms and divisions.

Mémoire en recherche-création / Sōma, c’est le temps de l’inscription de l’écrit sur et dans le corps, c’est le temps de la somatisation, de la révélation de l’affect comme symptôme, du corps qui réplique à la violence extérieure. C’est également un recueil de fragments qui se suivent comme tant de scènes et qui, à la manière d’un « corps sans organes », se lient les uns aux autres selon des connexions productives, « des circuits de conjonctions, des étagements et des seuils, des passages et des distributions d’intensité, des territoires et des déterritorialisations […] ». Un peu comme chez Collobert, l’aventure des fragments s’inscrit avant tout dans un parcours phénoménologique, dans les moyens que se donne le texte pour traduire l’expérience corporelle de la souffrance. Dans Sōma, la narration oscille entre le passé, temps de l’enfermement, de la maladie, des premiers balbutiements de l’écriture, et le présent de l’écriture, source de maux comme de soulagement, qui préside à la création du recueil. Grâce à l’enchevêtrement de ces deux temps narratifs, le je poétique explore les différents états du corps féminin souffrant, qu’il s’agisse de souffrance physique comme de souffrance psychologique. « Corps là, noué aux mots » : plasticité de l’écriture et voilement du je dans Dire II de Danielle Collobert interroge d’abord la plasticité à l’œuvre dans le recueil Dire II de Danielle Collobert. Grâce à une étude approfondie du concept de plasticité tel qu’explicité par la philosophe Catherine Malabou, qui emprunte la notion à Hegel, il nous est permis d’en dégager quelques fonctions : potentiel de donation et d’explosion de la forme, du corps et du sujet. Formellement à l’œuvre dans le recueil à l’étude, ces fonctions innervent et décrivent la nature scripturaire du passage de Dire I à Dire II et qualifient, avec justesse, les métamorphoses internes qui ont lieu dans Dire II. Ces fonctions s’incarnent concrètement grâce à un changement de paradigme textuel : la parataxe remplace la phrase longue, l’horizontalité laisse place à la verticalité, les vers deviennent de plus en plus hachurés, le sujet morphologique semble progressivement disparaître. Ce dernier point ouvre la réflexion sur le second pan principal de l’essai, soit, le voilement du je au sein du recueil. Intrinsèquement reliée à la question de la plasticité, l’apparition et la disparition du sujet poétique soulèvent celle de l’assujettissement, c’est-à-dire de la formation du sujet qui, elle aussi, s’inscrit sous le signe de la plasticité puisque le sujet poétique est en constant devenir, il n’est jamais stable, pareil et identique à lui-même. Les métamorphoses ainsi que les différents états du sujet mènent à une étude approfondie des liens qui existent entre celui-ci et son corps, dont la représentation hante le texte. Examinant les liens entre texte, sujet et corps, l’essai esquissera, notamment grâce à l’apport de Maurice Blanchot, Évelyne Grossman, Gilles Deleuze de Jacques Derrida, une pensée de l’écriture comme souffrance corporelle, de la souffrance comme inscription textuelle. / Sōma is the time of an inscription of the text on and in the body, it is the time of somatization, of the revelation of the affect as a symptom, of the body responding to external violence. It is also a collection of fragments which follow one another like so many scenes and which, like a body without organs, are linked to each other according to productive connections, " circuits of conjunctions, stages and thresholds, passages and distributions of intensity, territories and deterritorializations […]2 ". A bit like with Collobert, the adventure of fragments is first and foremost part of a journey towards a phenomenological writing, in the means that the text gives itself to translate the bodily experience of suffering. In Sōma, the narration oscillates between the past, a time of confinement, illness, the beginning of writing, and the present of writing, a source of pain and relief, which governs the creation of the collection. Through the entanglement of these two narrative tenses, the poetic subject explores the different states of the suffering female body, whether it is physical suffering or psychological suffering. " Body There, Tied to Words " : Plasticity of Writing and Veiling of the I in Dire II by Danielle Collobert first questions the plasticity at work in Danielle Collobert's Dire II. Thanks to an indepth study of the concept of plasticity as explained by the philosopher Catherine Malabou, who borrows the notion from Hegel, we are able to identify some functions: potential for donation and explosion of form, the body and the subject. Formally at work in the work under study, these functions innervate and describe the scriptural nature of the passage from Dire I to Dire II and aptly qualify the internal metamorphoses that take place in Dire II. These functions are concretely embodied thanks to a change of textual paradigm: the parataxis replaces the long sentence, horizontality gives way to verticality, the lines become more and more hatched, the morphological subject seems to gradually disappear. This last point opens the reflection on the second main part of the essay, that is, the veiling of the I within the collection. Intrinsically linked to the question of plasticity, the appearance and disappearance of the poetic subject raises that of subjugation, that is to say of the formation of the subject which, too, is inscribed under the sign of plasticity since the poetic subject is in constant evolution: it is never stable, the same and identical to itself. The metamorphoses as well as the different states of the subject lead to an indepth study of the links that exist between him and his body, the representation of which haunts the text. Examining the links between text, subject and body, the essay will sketch, thanks in particular to the contributions of Maurice Blanchot, Évelyne Grossman, Gilles Deleuze and Jacques Derrida, a thought of writing as bodily suffering, of suffering as textual inscription.

國際經濟學者長期使用比較利益或規模經濟模型討論貿易問題，決定貿易型態及貿易 利得，但是卻忽略了某些命題的動態本質，例如技術進步在長期下會改變比較利益， 以及貿易政策及經濟成長的關係(Grossman & Helpman1988)，此乃近年來動態貿易理 論逐漸為人重視的原因，應用最適動態模型來處理這些新問題，較能了解其動員態調 整過程，本文的動機便是利用跨期性動態模型探討技術進步，在長期對經常帳，資本 累積的沖擊效果，是否能獲得與靜態貿易理論不同的內涵，及結論。 利用最適動態模型來分析經常帳及資本累積理論，根據其時間的界定可分為三類 (1) 兩期模型(Two-Period Model)(2) 跨代模型(Overlapping Generation Model)(3) 無 限期模型(Infinite-horizon Model)，此三類模型對此主題之研究是非常混亂旦不完 整，不同的模型會有不同的結論，本文所採用的模型乃第 (3)種，其主要依據為Abel & Blanchard(1983) 的單部門投資與儲蓄模型延伸為一個可以涵蓋兩部門的小型開放 經濟模型，試建立一個無限期動態化的兩部門小型開放國家的模型，本模型的特點在 於利用一個收益函數r(p,k,Q)取代了Abel & Blanchard的單部門生產函數f(k)，代表 一般化的兩部門生產架構來探討資本累積和經常帳的動態調整，利用及所沒有探討的 特性 (Dixit & Norman 1980)，我們可以探討文獻上所探討及所沒有探討的，有關技 術進步對資本存量及經常帳的影 。

The aim of this diploma thesis is to employ a theatrological approach to the work of one of the most original and influential Czech pantomime troupes of all time, entitled Pantomima Alfreda Jarryho (the Alfred Jarry Pantomime, AJP). The company was established in 1966 in Prague by two young mime artists Boris Hybner and Ctibor Turba and existed as late as the political liquidation of the troupe in 1972 that came due to the process of the so-called normalization period in the former Czechoslovakia. The thesis consists of four major parts that are divided into several subsections. The first part deals with the historical contexts of the art of mime, both international and domestic. The AJP troupe represents the second generation of Czech pantomime that refused the style of the so-called modern pantomime expressed in the international context by Marcel Marceau and in the Czech context by Ladislav Fialka at the Theatre Na zábradlí (Theatre on the Balustrade). Since there is no monograph strictly based on this theatre, although it played a major role among the newly established small theatres in the sixties (and had an important influence on the poetics of the AJP troupe), we briefly introduce the poetics of both the pantomime company led by Fialka and the drama company led by the director Jan Grossman,...

This thesis explores the architecture, interior design and furniture design of Greta Magnusson Grossman (1906-1999), a pioneering Swedish Modernist who emigrated to the United States in 1940 and became part of the design movement California Modern in Los Angeles. Despite a productive and acclaimed career, her work was more or less forgotten until rediscovered in the early 2000’s.In this thesis, Greta Magnusson Grossman’s broader context is understood through literature studies of the 1930 Stockholm Exhibition, the introduction of Swedish Modern at the 1939 New York World’s Fair, the postwar design movement California Modern, and the International Competition for Low-Cost Furniture Design organized by the Museum of Modern Art in New York in 1948. Similar needs for well designed, low cost housing and furniture in the two countries are found.To further examine the work of Magnusson Grossman, her 1949 residence at Waynecrest Drive in Los Angeles is visually analyzed and compared with contemporary Case Study House #8 by American design couple Charles and Ray Eames from 1949, and Swedish furniture designer and architect Bruno Mathsson’s Exhibition Hall from 1950. Several correlations between the three environments are identified, and confirms Greta Magnusson Grossman’s progressive contributions in the fields of architecture, interiors and furniture design.