Ce mémoire de maîtrise en composition musicale présente cinq oeuvres composées entre l'automne 1988 et le printemps 1992. L'oeuvre pour basson ou saxophone ténor et percussions Duo concertant est conçue sous forme de dialogue et demande une fine complicité de la part des Interprètes. Dorléac pour bols, cuivres, piano et percussions, intègre à la fois une forme rondo et une forme d'arche dont le point culminant se situe aux deux tiers de l'oeuvre. Relevés no.7. pour quatuor à cordes, est Inspiré des sept parties d'un poème de Guillevic Etier. L'oeuvre Séquences voilées pour quatuor à cordes et orchestre se présente sous la forme de succession de séquences reliées entre elles par un voile harmonique. Double éclat, pour hautbois d'amour/cor anglais, piano/ célesta, orchestre à cordes et percussions, exploite à la limite les possibilités du hautbois d'amour et du cor anglais (soliste). / Québec Université Laval, Bibliothèque 2014

La présente thèse constitue une étude typologique contrastive des allomorphies pronominales dans deux langues finno-ougriennes : en hongrois et en mordve erzya. On entend ici par typologie contrastive une approche typologique fondée sur la mise en contraste des structures de deux ou plusieurs langues, y compris des langues de la même famille linguistique, afin d’explorer des propriétés à la fois spécifiques et universelles. De ce point de vue, le hongrois et le mordve s’avèrent particulièrement pertinents en termes de structuration des systèmes de marques pronominales, en raison de propriétés morphologiques caractéristiques de l’ouralien central et oriental, tels que l’existence d’une double conjugaison (subjective et objective, voire « objective définie », en mordve), qui induit des séries allomorphiques complexes, tout en suivant des principes réducteurs universels (syncrétisme, sous-spécification et surspécification de certaines marques ou conditions de marquage morphonologique). Cette thèse comprend neuf chapitres, distribués sur trois volets. Le premier volet décrit les structures et les étapes de la modélisation des systèmes pronominaux dans les deux langues. Dans le premier chapitre, nous présentons des généralités historiques et structurales du hongrois et du mordve erzya, ainsi que la place que ces langues occupent parmi les langues finno-ougriennes, du point de vue de la classification et de la typologie. Une série de particularités importantes pour la compréhension des deux systèmes, en termes d’organisation structurale, concerne les propriétés allomorphiques des unités fonctionnelles et relationnelles de type pronominal, telles que l’harmonie vocalique, les suffixes casuels, le système verbal, et l’ordre des mots. Le deuxième chapitre concerne le lien entre les pronoms personnels et des catégories grammaticales fondamentales telles qu’animacité, nombre, personne, définitude, et aboutit à la conclusion que c’est le pronom personnel qui est particulièrement marqué par ces catégories grammaticales – les mêmes qui peuvent avoir, dans les langues du monde, une incidence sur la construction ou l’organisation des systèmes de classes flexionnelles. Le troisième chapitre présente une approche historiographique du hongrois et du mordve erzya; le quatrième chapitre propose une réanalyse de la flexion pronominale erzya, en suivant les mêmes principes que ceux jadis préconisés par András Kornai dans son analyse du système de la flexion nominale du hongrois (Kornai 1994), dans la mesure où ce modèle morphologique traite l’affixation comme une opération sur des traits combinés. Le deuxième volet de cette recherche développe des études de cas exploratoires dans une perspective de TAL : un corpus d’erzya littéraire et un corpus d’erzya biblique sont analysés contrastivement en suivant les démarches et le paramétrage requis par le logiciel Trameur. Le troisième volet sort de l’analyse des registres stylistiques au sein d’une langue donnée pour revenir à une typologie contrastive structurale hongrois-mordve. Dans le dernier chapitre, nous proposons une synthèse de ces deux aspects de la typologie contrastive : contrastes de registres intralangue, contraste de structures interlangues, en fonction d’un ensemble de paramètres partagés. La synergie entre la méthode lexicométrique et la typologie générale constitue l’un des principaux apports heuristiques de cette thèse, dont le but est de développer une typologie des langues finno-ougriennes qui tienne davantage compte de la contrastivité des structures et de leur relativisme que des grands traits catégoriels interlangues, davantage sujets aux biais empiriques et méthodologiques que peuvent recéler les grands corpus. / This dissertation provides a contrastive and typological study of pronoun allomorphy in two Finno-Ugric languages: Hungarian and Erzya Mordvin. Contrastive typology is a typological approach aiming at contrasting the structures of two or more languages, including from the same language family, to explore specific and universal properties. From this standpoint, Hungarian and Mordvin are particularly relevant as to the structure of pronoun markers, due to some morphological characteristics of the central and eastern languages of the Uralic language family, such as double conjugation paradigms (subjective and objective, moreover the "objective definite inflectional paradigm" in Mordvin). This results in complex allomorphic patterns, while following universal principles (syncretism, sub-specification and over-specification of certain markers, or the conditions of morphonologic exponence). The first part describes the structures and modelling stages of the pronominal system in both languages. In the first chapter, we present historical and structural generalities about the Hungarian and Mordvin Erzya languages, and the place they occupy within the Finno-Ugric group, from the point of view of classification and typology. A series of important features to understand the two systems in terms of structural organization, concerns the allomorphic properties of functional and relational units of pronominal type such as vowel harmony, the casual suffixes, the verbal system, and word order. The second chapter deals with the relationship between personal pronouns and basic grammatical categories such as animacity, number, person, definiteness, and concludes that it is the personal pronoun that is most marked by these grammatical categories - the same that may affect, in the languages of the world, the construction or organisation of inflectional classes. The third chapter is a historiographical approach of Hungarian and Erzya to show the outline of the research on the evolutionary periods of both systems. The fourth chapter provides a reanalysis of pronominal inflection in Erzya, following the same principles as those previously recommended by András Kornai's analysis of the nominal inflection system of Hungarian (Kornai, 1994), as it deals with the morphological model considering affixation as an operation on the combined features. The second part of this research develops exploratory case studies from the perspective of NLP (French: TAL) a literary corpus and a biblical corpus of Erzya are analysed following the steps and the settings required by the Trameur software. The third part departs from the contrastive analysis of stylistic registers within a given language to return to a Hungarian-Mordvin contrastive structural typology. In the last chapter, we propose a synthesis of these two aspects of contrastive typology: contrasting registers of intralanguage, contrast-linguistic structures, based on a set of shared parameters. The synergy between the lexicometric method and the general typology is one of the main contributions of this thesis’s heuristics to develop a typology of Finno-Ugric languages that takes greater account of the contrastivity of structures and their relativism as major categorical traits of interlanguage, resulting more sensitive to empirical and methodological biases that may conceal a large corpus.

Dans quelle mesure les traditions de l’Église orthodoxe, héritière d’un modèle byzantin imprégné de césaropapisme qui ignorait donc la séparation des pouvoirs temporels et spirituels, ont-elles influencé les comportements démocratiques dans les pays d’Europe où elle est dominante ?Le cas particulier de la Roumanie depuis 1948. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

L'évolution du droit de l'environnement de l'Union européenne a conduit au développement d'un objectif nouveau qui vise à promouvoir l'éco-innovation et les modèles d'entreprise verts, afin de mettre en place une économie verte et circulaire. Ce nouvel objectif a eu des conséquences sur sa forme et son contenu. En effet, la forme du droit de l'Union européenne en matière d'environnement est dominée par des directives-cadres et présente une flexibilité accrue, tandis que son contenu intègre de nouveaux modèles d'entreprise, notamment le modèle d'entreprise circulaire. La transition vers une économie verte a également des conséquences sur la manière dont les États membres transposent le droit de l'environnement de l'Union européenne. Le processus de transposition est devenu un vecteur de commercialisation de l'éco-innovation sur le marché européen, associant des acteurs nouveaux à la prise de décision, à savoir : les éco-entreprises, les laboratoires de recherche et d'innovation, les pôles de compétitivité, les entreprises du numérique ou les investisseurs providentiels. / The evolution of the European Union environmental law has led to the development of a new goal that aims to promote eco-innovation and green business models, in order to create a green and circular economy. This new goal had consequences on its form and content. The form of the European Union environmental law is dominated by framework directives and presents increased flexibility, while its content integrates new business models, particularly the circular business model. Furthermore, the transition to a green economy has an impact on how Member States transpose the European Union environmental law. The transposition process has become a vector of commercializing eco-innovation on the European market, and brings together new stakeholders in the decision-making process, namely: green companies, research and innovation laboratories, clusters, digital companies or business angels.

Organic architecture is often used term especially in connection with the daring and experimental form. The exact definition or division is still missing. The founder of modern organic architecture is to be generally considered as Frank Loyd Wright. He was the man who created organic architecture and also made first definition in the early twentieth century, when formulating new architectural styles. Dissertation deals with insufficiently described problem of organic architecture. The main focus is on contemporary production of residential organic architecture in Central Europe. Especially on the particular realizations in Hungary, Czech Republic, Slovak Republic, Austria, Germany and Poland. Beside detail description of European realizations, the dissertation deals also with foundations of organic architecture in U.S.A. and important realizations here. Modern organic architecture primarily originated in the United States of America. The work presents most important contemporary realizations and architects creating resident living organic architecture in other countries around the world in order to complete the overview. The objective of dissertation was describing newest trends in designing buildings for living. Find position of organic architecture and give reasons for it´s increasing popularity, spread and necessity for new development in architecture according to the new trends. Organic architecture is an alternative way of contemporary residential living. It´s popularity is growing in last years in response to the development of modern technologies and materials, the need to protect our natural resources and also to the increasing negatives of globalization and to denial of local traditions and regional specificities. Aspects of organic forms were divided into three main groups according to their main characteristics: form, harmony and sustainable development. Another objective was find location of contemporary organic residential architecture in Czech Republic and abroad. It is rather spread all over the world than concentrated on certain places. Therefore I selected countries that are richer than the others on the occurrence of organic buildings. The objective was also to address architects, specialists, public and especially university teachers of architecture and students themselves. Communication with them was mainly connected with grant project in 2010. The theme of grant project was contemporary organic architecture in residential living. There were lectures about contemporary organic architecture and exhibition on the theme: Contemporary living organic architecture. The publication of the catalog was published under the title: Contemporary organic houses - Europe. I had the opportunity to visit a number of organic family houses abroad. Specifically houses in Slovakia, Hungary and Germany. Results of survey, which was realized by questions to owners and authors of chosen buildings, are included in dissertation. The mail results of dissertation are - make a detail review of organic architecture in residential living - define trends in contemporary organic architecture and residential living - obtain and process answers from owners and authors of chosen buildings within survey - analysis of organic house ( houses) in city planning and landscape - publication of catalogue focused on organic contemporary European houses - article about contemporary organic architecture and residential living will be published in 2012 on archiweb page

Die Dissertation liefert eine Neuinterpretation des theoretischen Hauptziels der Harmonischen Elemente des Aristoxenos, sofern in der späten Herausbildung seines Dynamis-Begriffs unstrittig die zentrale Konzeption eines Wissens von der Musik liegt. Im Unterschied zur vorherrschenden Lehrmeinung und den bisherigen, vornehmlich musikhistorisch und philosophiegeschichtlich argumentierenden Ansätzen, welche die Innovationen des Aristoxenos auf die Befolgung der Methodik seines Lehrers Aristoteles und einer wissenschaftlichen Ferne von den Pythagoreern zurückführen, kommt die vorliegende, hauptsächlich medientheoretisch vorgehende Untersuchung zu dem gegenteiligen Ergebnis, dass (i) die Dynamis des Aristoxenos der Metaphysik des Aristoteles eklatant widerspricht und (ii) allein aus einer weiter gefassten Ontohistorie der griechischen Mousa-Kultur und deren philosophischen Verarbeitung durch den späten, pythagoreisierenden Platon in ihrer musiktheoretischen Relevanz hinreichend erkannt und in ihrer epistemologischen Signifikanz ausreichend gewürdigt werden kann. Für den Ansatz gilt zum einen, ernst zu nehmen, wie die in ihrer Vehemenz und Absolutheit bislang unverstandene Kritik an der Musiknotation aus der erstmaligen Einbeziehung der Melodie in die Wissenschaft von der Harmonie resultiert und entsprechend die radikalen Konsequenzen zu verfolgen, wie durch diese Verzeitlichung die Theorie der Musik insgesamt zu einer logisch-technischen Betrachtung eines harmonischen Prozesses wird, der unweigerlich mit virtuellen Entitäten operieren muss. Zum anderen sieht sich die Arbeit gezwungen, weit auszuholen, um kulturtechnisch auf die epistemogenen Momente der Erfindung des Alphabets und der Entdeckung des Inkommensurablen einzugehen, sowie philologisch das Pythagoreerbild des Aristoteles zu korrigieren. Beides zusammen führt ferner auf die Notwendigkeit, einen ‚zeiteigenen Sinn der Geschichte‘ zu postulieren und methodisch eine ‚doppelt negative Medienarchäologie‘ zu entwickeln. / This dissertation provides a reinterpretation of the major goal of Aristoxenus’ Harmonic Elements, inasmuch as it is beyond dispute that his late notion of dynamis constitutes the pivotal conception for a scientific understanding of music. Up to now the prevailing doctrine and a primarily music-historical arguing underpinned by a common approach to the history of philosophy holds that the innovations of Aristoxenus were to be explained by reference to the methodology obtained from his teacher Aristotle and the scientific distance taken from the Pythagoreans. By contrast, the present, mainly media-theoretical investigation arrives at the converse conclusion that (i) Aristoxenus’ notion strikingly contradicts the metaphysics of Aristotle and that (ii) it is alone by attaining a deeper onto-historical insight into the Greek Mousa-Culture and its philosophical incorporation by the late Pythagorising Plato that the music-theoretical relevance of the dynamis of Aristoxenus becomes sufficiently identifiable and that its epistemological significance can adequately be assessed. On the one hand, regarding the approach, one has to seriously account for the fierceness and absoluteness of the hitherto not understood critique of musical notation resulting from the first-time inclusion of melody into harmonic science. Accordingly, the radical consequences are to be traced, namely how by this temporalisation the theory of music as a whole is turned into a logico-technical consideration of a harmonic process that inevitably has to operate with virtual entities. On the other hand, the study is forced to go far afield in order to elucidate the epistomogenic momentum accompanying the invention of the alphabet and the discovery of incommensurability, as well as to correct the image of the Pythagoreans drawn by Aristotle. Taken together, this led to the need of postulating a ‘time’s own sense of history’ and to methodologically develop a ‘double negative media archaeology’.

The dream about an earthly paradise, rediscovery of an original, absolutely harmonic paradisal life is, in Dostoevskij's opinion, one of the deepest and the most valuable dreams of the human heart. The spiritual course of any human being has its own history, it is born from thesis (babtism), goes through antithesis (crises) and finishes in synthesis (beauty). A man comes from the Eden Paradise and aims at heaven. So, a man in course of his spiritual life is in a real split into two paradises: the Eden Paradise from which he is coming from and the Kingdom of God where he is aiming at. The midpoint of the life course is accompanied by a crisis, that can also be described as separation from the the paradise. The characters of novels by Dostoevskij failed due to the fact, that they were not able to admit their presence between two "paradise states" and so their ideas about earthly paradise establishment were being corrupted. In our piece of work we are going to follow four trends: 1. Time corruption, incorrectly understood sense of history. The tendency to return back where a man came from, in an origenestic, cyclic interpretation of a comeback is apparent in a story The Dream of a Ridiculous Man. Another extreme shows marxism ideas going around Europe which deny both the importance and the sense of...

The thesis has been written on the basis of main architectural concepts and their application in real life within a historical context investigation. Main architectural concepts are represented in a harmony of architectural composition that deals with relations among form, structure and space in the unique art work. Genius loci play very important role in the architectural creation - it represents a special and extra-ordinary urban locality and its architectural value in the historical, geographical and cultural context. The origin of Ostravice village within the historical frame concept of Moravia domain is the topic of this thesis. Other historical documents gave information about Bruneswerde as the Brno Castle. That means Brno Castle had to be founded not in Brno (as it has been consid-ered for many years) but it was located in Beskydy at Ostravice. The sacred city – Civitas Dei had been located in Bruneswerde region in early ages as the centre of European culture, education and spiritual life. Civitas Dei – divine Jerusalem in the transcription of St. Augustine's book De civitate Dei – is not only glorification of God and religious fantasy. It is also one of significant clues for recognition of historical architecture. The depiction of unknown settlement from the book of unde-fined origin is a superb testimony about extinct architectural works. They are legible from cadastral maps. Brno Castle - residence of nobility and power served shelter to St. Vojtěch, St. Prokop, St. Václav and St. Ludmila as it is obvious for the mentioned picture. Three major temples, three com-position axes symbolized by three towers on coins are in analogical relation to Brno triangle of four saints - the Saint family of Brno temples. Powerful ambitions of Brno City principals and clergy are inscribed into the urban structure in the way of composition relations which are legible to them who devoted themselves to the mystery of harmony. The absence of historical continuity affects personal attitudes and also identity of the whole community. The architecture truly reflects the past state of polis and it is eloquent even after its death. The architectural composition relations influence the natural environment for long time, longer than the architectural work existence. The geometric order of Renaissance Brno existence has not been in attention of architects so far. The features were discovered in characteristic paintings by Albrecht Durer. They are evidently secret works of the genius. A meaningful collaborator and follower in the extensive project was also his friend Jan Čert from Brno and lately from Vienna. His noble genealogy played a significant role in history of Silesia and Moravia for centuries. It is tendency to consider him as Austrian or even German architect. It is because of the fact that the genealogy tree of his noble family had roots in Moravia. It is supposed that Durer with Jan Čert´s support created the extraordinarily monumental architectural and urban works in Brno. A remarkable consensus in the urban composition of two squares and transition of traditional urban structure of Ostravice Civitas Dei into the modern Brno is also confirmed due to the identification of noble creators and owners, who were at the foundation, transformation and extinction of elements of the Moravian urban structure.

Private deck of cards created during six-month survey and documentation of daily experiences. The package contains 49 cards and it is inspired by a set of 78 tarot cards. Text content - reverse side of the card was created using diary notes. Face side of the card was chosen as a representation of processes taking place usually in days when the card was read.