This dissertation explores the significance of figurative art for contemporary cultural life. It is motivated by the fact that such art is often regarded as a thing of the past and largely replaced by works born of more recent movements. I argue that figurative art bears possibilities that are not yet exhausted, and moreover that there is something about our age that calls for the creation of figurative works. The first part addresses a diagnosis of modernity offered by Gregg Horowitz. For him, the triumphant attitude of the age hides our inability to digest a series of traumatic losses - the loss of nature's normativity, of art's significance for cross-generational transmission of values, and of history's demand to carry forward the values of previous generations. He sees in art the opportunity to bring such traumatic loss to reflection, and calls for the aesthetics of mourning as art's contemporary vocation. In order to demonstrate the importance of an element of mourning, the discussion of Horowitz is followed by an account of Gianni Vattimo's attempt to retrieve art from a position of inessentiality. The lack of a tragic moment in his project highlights some of the drawbacks connected to such an omission. In the second part of the project I insist that, though the element of mourning is necessary, we should not stop there in the search for art's contemporary vocation. Using the phenomenology of Heidegger and Merleau-Ponty I sustain the hope that we may recover some form of continuity without disregarding the trauma of loss. Figurative art is particularly suitable for this task because it is more likely to preserve the integrity of its subject matter rather than breaking it down into its constitutive parts, potentially carrying forward elements of past modes of relating to our world.

I will interpret a horror genre within the literature determined for children. In particular, I will focus on horror and fantastic stories written by Anthony Horowitz. However, the theoretical part of my diploma thesis will deal with basic description of horror literature development then also with a picture of a child in horror literature and finally with the biography of Antony Horowitz. The next practical chapters will focus on analysis of horror elements in Horowitz' stories. Finally I will analyse the role of the heroes in Horowitz' stories with the connection on theoretical part. The diploma thesis will mainly be based on the collection of short stories called Horowitz Horror and other two books called Groosham Grange and Return to Groosham Grange.

No description available.

Cette thèse participe au développement d’un combustible particulaire uranium-molybdène dans le cadre de la conversion des réacteurs de recherche de haute-performance en France et à travers le monde, à l’utilisation de combustibles faiblement enrichis (LEU : Low Enriched Uranium à opposer à HEU : High Enriched Uranium). Ce dernier se présente sous la forme d’une dispersion de particules uranifères U(Mo) dans une matrice à base d’aluminium et une question majeure persiste quant à l’interaction se produisant entre le composé U(Mo) et la matrice d’aluminium. En effet, il a été constaté que sous certaines conditions d’irradiation, cette interaction donne lieu à un gonflement instable de la plaque combustible qui résulte d’une percolation accentuée et imprévisible de bulles de gaz de fission à l’interface entre une couche d’interaction formée autour des particules U(Mo) et la matrice aluminium. Cette thèse s’est attachée à développer plusieurs solutions « remèdes » visant à modifier et/ou diminuer, voire inhiber l’interaction combustible/matrice et à améliorer la rétention des bulles de gaz de fission. Pour atteindre ces objectifs, deux voies ont été testées au cours de la thèse, (i) l’amélioration des propriétés microstructurales intrinsèques de l’alliage U(Mo) et (ii) la modification de l’interface âme combustible / matrice, par le dépôt de couches à effet barrière. En ce qui concerne le premier axe de recherche, une campagne de caractérisation des poudres de référence a, au préalable, été réalisée, permettant d’identifier des paramètres clés pour le développement de produits à microstructure « optimisée ». Deux produits innovants ont ainsi été développés puis soumis à caractérisation : une poudre atomisée-broyée et une poudre obtenue par magnésiothermie. Nous avons démontré que ces produits peuvent être un atout vis-à-vis de la problématique de rétention des bulles de gaz de fission. En ce qui concerne la problématique de la formation d’une couche d’interaction, un troisième produit, reposant sur le génie des procédés, a été développé : une poudre U(Mo) atomisée, revêtue d’une couche type alumine. Nous avons démontré qu’une couche comprise entre 100 et 200 nm permettait d’inhiber la croissance d’une couche d’interaction activée thermiquement. Nos recommandations finales ont ainsi pu être données en vue de la réalisation de tests d’irradiation « en-pile » pour la qualification d’un combustible U(Mo) optimisé. / This thesis enters in the Material and Testing Reactors (MTRs) framework where the necessity to use a Low-Enriched Uranium (LEU) fuel has led to the development of a dense fissile material based on U(Mo) alloys. The designed fuel is a composite material, made of dispersed U(Mo) particles embedded in an Al based matrix. Post-Irradiation Examinations of these LEU fuel plates showed that the irradiation behaviour of the fuel is not fit for purpose yet. This is mainly due to the growth of an interaction layer between the fuel and the matrix and to the bad gas retention efficiency of the fuel particles. This thesis had for purpose the development of several solutions in order to modify and/or decrease or even inhibit the fuel/matrix interaction and to increase the gas retention capacities of the fuel. In order to achieve so, two solutions have been tested during this thesis, (i) optimization of the U(Mo) alloy intrinsic microstructural properties and (ii) modificationof the fuel meat/matrix interface, through the deposition of a layer acting as a ''diffusion barrier''. Concerning the first axe of study, a characterization campaign of the reference powders has been realized, as a first step, in order to identify the key parameters for the development of products showing an “optimized” microstructure. Two novel products have then been developed: one based on a combined process associating “atomization + grinding” and another, which consists in a magnesiothermy process. These products were subject to characterization: X-Ray and neutron diffraction, electron backscattered diffraction and transmission electron microscopy have been performed in particular. We managed to show that these powders can be an advantage concerning the issue with the gas retention capacities of the fuel. Concerning the growth of the interaction layer, a third product, using process engineering, has been developed: an U(Mo) atomized powder, coated with an alumina like layer. We managed to show that a thickness between 100 and 200 nm of the layer allowed inhibiting the growth of a thermally activated interaction layer. Finally, our recommendations have been given in order to realize irradiation tests “in-pile” for the qualification of an optimized U(Mo) fuel.

No description available.

This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.

This study focuses on a comparative analysis of two piano paraphrases, Pastiche on Habanera from ‘Carmen’ by Kaikhosru Sorabji and Variations on a Theme from Bizet’s ‘Carmen’ by Vladimir Horowitz. These compositions idiomatically distort the original material in a manner that was not explored up to the moment of their respective conception. They expose each composer’s free compositional approach, reflecting musical freedom rooted in the originality of their musical thinking. The aesthetic uniqueness of these two compositions strongly stimulates and justifies academic interest to explore their technical construction, musical differences, and artistic significance. This study proposes to undertake a comparative study of these two compositions, analyzing (1) aspects of the musical character, which are linked with embellishment, or rearrangement of original material, and (2) differences in performance approach based on recorded examples and critical observations by others of the performances of these works by Sorabji and Horowitz.

AFRIKAANS: Die doel van die navorsing was om te bepaal wat die status van die klassieke pianis in die postmoderne wêreld is, en hoe hierdie moontlikhede deur die loopbane van Lang Lang (1982- ) en sy model Vladimir Horowitz (1903-1989) vergestalt word. Die verhandeling begin met ‘n oorsig oor Lang Lang as pianis en mens. Dit dien as vertrekpunt vir die res van die besprekings. Lang Lang se pianistiek as ‘n voortsetting van ‘n reeds bestaande klaviertradisie word ook in oënskou geneem. Daar word spesifiek ondersoek ingestel na Horowitz se invloed op Lang Lang se musikale ontwikkeling. Die beeld van Lang Lang as pianis wat in die voorafgaande besprekings na vore gekom het, word aan die hand van tekste oor die Postmodernisme krities bespreek. In die gevolgtrekking word die postmoderne status van die hedendaagse pianistiek, met Lang Lang as verteenwoordiger daarvan, oorweeg. Aangesien die uitvoerende kuns in die eerste plek op kommunikasie met die luisteraar gemik is, speel die menings van ooggetuies ‘n buitengewoon belangrike rol in die bestudering van die uitvoerende kunstenaar se kuns. Data wat in die studie gebruik is, sluit onder andere resensies, koerantberigte, tydskrifartikels, transkripsies van radio-onderhoude, gepubliseerde onderhoude, gepubliseerde CV’s, biografieë en outobiografieë in. Tydens die studie het dit na vore gekom dat Lang Lang se klavierstyl byna parallel met dié van Horowitz loop. Verder is al die simptome van die Postmodernisme wat in hierdie studie in oënskou geneem is in ‘n meerdere of mindere mate in Lang Lang se pianistiek en bemarkingstrategieë teenwoordig. ‘n Interessante aspek is dat hierdie simptome, en spesifiek Lang Lang se herbenutting (“recycling”) van Horowitz se klavierstyl, as postmodern sowel as Romanties geïnterpreteer kan word. Indien die leser Andreas Huyssen en John Butt se siening huldig dat die Postmodernisme se herbenutting van historiese style as gevolg van die tydsverloop in wese nuut en daarom postmodern sal wees, kan Lang Lang se klavierstyl en die huidige klaviertradisie as postmodern beskou word. As die leser in ooreenstemming met Linda Hutcheon voel dat postmoderne herbenutting noodwendig ironies en daarom polities van aard moet wees, kan Lang Lang se pianistiek sowel as die hedendaagse klaviertradisie as Romanties beskou word. ENGLISH: The aim of this research was to determine the status of the classical pianist in the postmodern world, and how these possibilities are embodied by the careers of Lang Lang (1982-) and his model Vladimir Horowitz (1903-1989). The dissertation commences with a summary of Lang Lang as a pianist and a person. This serves as a point of departure for the remaining discussions. Lang Lang’s pianism as a continuation of an already existing piano tradition is explored and Horowitz’s influence on Lang Lang’s musical development is assessed. Lang Lang’s image as a pianist, determined during the preceding discussions, is examined with reference to texts pertinent to Postmodernism. The postmodern status of contemporary pianism, with Lang Lang as its representative, is expanded upon in the conclusion. As performing art is primarily aimed at communication with the listener, the views of eyewitnesses play an exceptionally important role in the study of the performer. Data used in this study include, amongst others, reviews, newspaper clippings, journal articles, transcriptions of radio interviews, published interviews, printed CVs, biographies and autobiographies. During the study it came to light that Lang Lang’s piano style is similar to that of Horowitz. Furthermore, all the symptoms of Postmodernism investigated in this study are to a greater or lesser extent present in Lang Lang’s pianism and marketing strategies. An interesting aspect is that these symptoms, and specifically that of Lang Lang’s recyling of Horowitz’s piano style, can be interpreted as postmodern as well as Romantic. If the reader holds Andreas Huyssen’s and John Butt’s view that Postmodernism’s recycling of historical styles due to the lapse of time will be new in essence and consequently postmodern, Lang Lang’s piano style and the present day piano tradition can be viewed as postmodern. If the reader, following Linda Hutcheon’s views, feels that postmodern recycling should inevitably be ironic and therefore in nature political, Lang Lang’s piano style and the contemporary piano tradition can be considered Romantic. / Thesis (DMus)--University of Pretoria, 2011. / Music / unrestricted

No description available.

Le Réacteur Jules Horowitz (RJH) est un réacteur d’irradiation technologique actuellement en construction au CEA Cadarache. Ce réacteur permettra de réaliser les études scientifiques sur le comportement des matériaux et des combustibles sous irradiation.Pour répondre aux enjeux du RJH, il est nécessaire de valider les outils de calcul des échauffements photoniques (les codes de calcul et la librairie européenne JEFF3.1.1 de données nucléaires) pour le cas spécifique du RJH. Cette problématique est traitée en 3 volets dans cette thèse.Le 1er volet a consisté à quantifier le biais de calcul dû aux données nucléaires de la librairie européenne JEFF3.1.1 pour les calculs d’échauffements photoniques dans le RJH. Ce travail repose sur l’interprétation, avec le code TRIPOLI-4, de mesures d’échauffements réalisées dans la maquette critique EOLE du CEA Cadarache.Le 2ème volet a consisté à obtenir des éléments sur les biais de calcul des échauffements photoniques dus aux méthodes de calcul elles-mêmes. La comparaison calcul / calcul entre différents codes Monte Carlo met en évidence l’importance du transport des particules chargées pour les calculs d’échauffements.Le 3ème volet de ce travail a consisté à fournir des points de comparaison calcul / mesure pour des mesures d’échauffements réalisées dans le réacteur OSIRIS avec une première version du dispositif CARMEN. Le dispositif CARMEN est un projet de dispositif de mesure multi-détecteur innovant pour le RJH. En conclusion, cette thèse a apporté des éléments de validation des calculs d’échauffements photoniques pour le RJH. Ces éléments ont d’ores et déjà été capitalisés pour les études de sûreté du RJH. / The Jules Horowitz Reactor (JHR) is the next MTR under construction at CEA Cadarache research center. The JHR will be a major research infrastructure for the test of structural material and fuel behavior under irradiation.To be up to the challenges set by the JHR, It is necessary to validate photon-heating calculation tools (calculation codes and the European nuclear-data JEFF3.1.1 library) for specific use in the JHR. This topic is handled with a three-prong work plan. The first part consisted in quantifying the calculation bias due to the JEFF3.1.1 nuclear-data library on JHR photon-heating calculations. This work relies on the interpretation, with the TRIPOLI-4 code, of heating measurements carried out in the EOLE critical mock-up at CEA Cadarache.The second part of this work is dedicated to the determination of photon-heating calculation biases linked to the approximations of calculation schemes. The calculation / calculation comparison between different Monte Carlo codes highlights the importance of charged-particle transport for heating calculations.The third part of this work consisted in providing calculation / measurement comparisons for heating measurements carried out in the OSIRIS reactor with a prototype of the CARMEN device. The CARMEN device aims at measuring neutron flux, photon flux and nuclear heating simultaneously in the different experimental locations of JHR. In conclusion, this work brings forth validation elements for JHR photon-heating calculations. These elements are already taken into account for the estimation of biases and uncertainties associated with photon-heating calculations for JHR performance and safety studies.