La thèse de doctorat a été rédigée en cotutelle entre la Johannes Gutenberg- Universität Mainz et l’Université de Bourgogne- Franche Comté. Elle porte sur « Venise comme labyrinthe : la ville et sa représentation littéraire au XXe siècle ». La thèse se dédie d’une part à l’analyse systématique des éléments que la ville de Venise et le labyrinthe ont en commun au niveau de la structure et des valeurs symboliques qui y sont liées. D’autre part, elle étudie comment ces caractéristiques sont reflétées dans la littérature du XXe siècle sur Venise, par quels autres éléments labyrinthiques au niveau de la forme et de la réceptionelles sont complétées et quelles fonctions le labyrinthique peut assumer. L’étude présente des résultats multiples et contribue aussi bien à un approfondissement des études sur le labyrinthe qu’aux études vénitiennes, en permettant à travers le focus sur le labyrinthique une meilleure compréhension de la ville et de ses particularités et des conclusionsnouvelles dans l’interprétation des textes. Les textes choisis pour l’analyse (Der Tod in Venedig de Thomas Mann, 1912 ; Le città invisibili de Italo Calvino, 1972 ; Wer war Edgar Allan ? de Peter Rosei, 1977 et Parsifal a Venezia de Giuseppe Sinopoli, 1993) donnent un aperçu de la variété de combinaisons possibles entre les aspects thématiques du labyrinthe au niveau du contenu et les éléments labyrinthiques au niveau de la forme et de la réception. / The doctoral thesis was written in the context of a Cotutelle Doctoral Program between the Johannes Gutenberg-Universität Mainz and the Université de Bourgogne-Franche Comté. Itssubject is “Venice as Labyrinth: the City and its Literary Representation in the 20th Century”.The thesis aims to systematically identify and analyse which characteristics the city of Veniceand the labyrinth have in common, both at a structural and a symbolic level. It further examines how these characteristics are reflected in the 20th century narrative on Venice. The study provides a new approach by considering multiple levels: on the one hand, it explores the thematization of the labyrinthine characteristics of the city in the content of the texts. On the other hand, it analyses how these contents are complemented by labyrinthine elements in the form and reception of the texts and focuses on their function. The study provides multiple interesting results. It contributes to the Labyrinth Studies as well as to the Venetian Studies, allowing through the focus on the labyrinthine a better comprehensionof the city and its particularities as well as coming to new conclusions in the interpretationof texts. The works chosen for the analysis (Thomas Mann’s Der Tod in Venedig, 1912; ItaloCalvino’s Le città invisibili, 1972; Peter Rosei’s Wer war Edgar Allan, 1977 and Giuseppe Sinopoli’s Parsifal a Venezia, 1993) provide an overview of the variety of possible combinations of the aspects of the labyrinth in terms of content and the labyrinthine elements in the form and reception of the texts.

In recent years, magnitudes of flood estimates used in hydraulic design have increased for many reservoirs. Consequently, many existing spillways are now deficient as they do not meet current discharge capacity requirements. To rehabilitate existing, fixed-width spillways, labyrinth weirs are often viable solutions. For reservoir applications, arcing labyrinth weirs into the reservoir increases hydraulic efficiency. This results from better cycle orientation to the approaching flow field. This study supplements available arced labyrinth weir hydraulic data by observing flow characteristics of three laboratory-scale physical models and two numerical (CFD) models. Physical model results provide head (energy)-discharge data and empirical coefficients for hydraulic design. Results also show that increasing the arc angle improves efficiency at H/P<0.3, where H/P is upstream piezometric head divided by weir height; after which, efficiency improvements diminish as downstream submergence also increases. The purpose of the CFD analysis was to assess the appropriateness of CFD as a design tool for arced labyrinth weir head-discharge relationship development. The CFD model results found good agreement with the physical model data indicating CFD’s usefulness as a hydraulic design tool; however, it is recommended that CFD models be calibrated to reliable laboratory or field data. This study’s data may be used, with sound engineering judgement, to aid in hydraulic design of arced labyrinth weirs

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The rehabilitation of dams often requires spillway capacity upgrades. Replacing a less hydraulically efficient linear weir with a labyrinth weir can be an effective way to increase discharge efficiency (discharge at a given upstream head) for a fixed-width channel. Labyrinth weirs are linear weirs folded in plan view to increase total spillway crest length (which in turn increases discharge efficiency within a channel). Labyrinth weirs potentially have limitless geometric configurations. This study was performed to analyze the effects of varying certain geometric parameters on discharge efficiency and design method predictions. Due to limited cross-sectional flow area near the upstream apex, labyrinth weirs experience nappe collision and local submergence that potentially reduce discharge efficiency. The increase of upstream apex width may be a feasible method to decrease the negative effects of nappe interference, which in turn may increase discharge efficiency. This was analyzed in this study by testing a series of eight laboratory scaled labyrinth weirs (with sidewall angles of 12°), with various upstream apex widths. Upstream apex width tests were performed in a fixed and varied channel width setting. The design method developed by Crookston and Tullis is based on laboratory scaled physical models. This method is very useful in the estimation of performance for geometrically similar prototype labyrinth weirs. However, due to difficulty in obtaining data on completed prototype weirs, design method predictions are rarely verified. To help validate Froude scaling and design method predictions of prototype weirs, a series of physical model tests (with sidewall angles of 15°) were performed with varying scale sizes (0.5 to 3.0 compared to the size of weir used in the design method). To expand the applicability of the design method to common geometric variations, tests were performed on weirs of varying weir height and cycle width (with sidewall angles of 15°). These variations were applied independently and analyzed to determine their effects on discharge efficiency and design method predictions. A correction factor is then presented to be used in conjunction with Crookston and Tullis’s design method for these geometric variations. All conclusions are presented in this thesis.

A piano key (PK) weir is a type of nonlinear (labyrinth-type) weir developed specifically for free-surface flow control structures with relatively small spillway footprints. Currently, no generally accepted standard PK weir design procedure is available. This is due, in part, to the large number of geometric parameters and a limited understanding of their effects on discharge efficiency (discharge efficiency is quantified by the discharge coefficient of the standard weir equation). However, Hydrocoop, a non-profit French dam spillways association, has recommended a PK weir design and a head-discharge relationship specific to that geometry. To develop a better understanding of the effects of PK weir geometry on discharge efficiency, 13 laboratory-scale, 4-cycle PK and rectangular labyrinth weir configurations were tested. As a result, the influence of the following PK weir geometries and/or modifications on discharge efficiency were partially isolated: the inlet-to-outlet key width ratio, upstream, and downstream apex overhangs; sloped floors; raising the crest elevation via a parapet wall; fillets underneath the upstream overhangs; and the crest type. The physical model test matrix also included a PK weir configuration consistent with the Hydrocoop-recommended design. From the experimental results, the appropriateness of the Hydrocoop-recommended head-discharge relationship was evaluated, along with the discharge coefficient behavior associated with the standard weir equation. Finally, trapezoidal labyrinth weirs were compared to PK weirs to make a relative comparison of nonlinear weir discharge efficiency; comparisons were made considering crest length and structure footprint.

In the past, my work was focused on transferring the flat visual element into the space. I turn away from this concept, because as my Master's thesis I chose a Labyrinth. A labyrinth is not primary flat visual element. My final work is free artistic interpretation of this theme. My work based on classical craftsmanship techniques, which I am using in the new way in my work. I understood this theme labyrinth as an something very personal and individual. Because of this, I decide to create sculpture which will fit in to the gallery space and also the space of everyday life. My expression of the Labyrinth has cube shape. The entire sculpture is stitched inside, this stitch create the inside space. In one way this inner space is open and we are free to look inside, in the other hand center of the sculpture is hidden. I want to express a feeling of secrecy, and create tension between outside and inside space of the sculpture.

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This thesis aims to introduce a design proposal providing a special light-colour-space experience for preschool aged children. At this age, the basic aspects of visual perception are well-developed. However, unlike adults, children do not possess the experience and memories that enable complete visual perception. My goal was to create a space where children can play and, in the meantime, meet various stimuli that they are not used to, broadening their visual sensitivity by utilizing the rhythm of light and colour combinations. Based on earlier studies, I investigate three main areas: children’s perspective, their relationship with colours, and the learning process itself that takes place in their brain while embracing knew knowledge. Conclusions drawn from the literature review are complemented by studies of forms, shadows, and materials. The design of the installation itself is presented through conceptual sketches and models. As the main motive of the installation I chose a circular labyrinth where, during wandering, new experiences, colours, forms, atmospheres, and emotions reveal themselves as one progresses towards the centre. Darkness too plays an important role in the design. The changes in light level follow the steps of this external and internal journey, until in the last layer of the labyrinth children can experience almost complete darkness in a relatively safe environment.

The role of infinity as an antagonist in Jorge Luis Borges's oeuvre is undeniable. His stories in El jardi­n de senderos que se bifurcan (1941), Ficciones (1944), and El Aleph (1949) exhibit Borges's tendency to evoke dreams, labyrinths, mirrors, and libraries as both conduits for infinity and sources of conflict. Oftentimes, Borges's characters experience discomfort upon encountering the limitations of secular temporal succession. This discomfort is rooted in Borges's pessimism about the subject which is explored in Borges's most comprehensive essay on the issue of time: "A New Refutation of Time." Consequently, this thesis considers Borges's attitude towards the issue of time as postulated in "A New Refutation of Time" and exhibited in his early fiction, continues to acknowledge infinity as a fundamental conflict in Borges's work, and proceeds to search for a solution to this conflict. The analysis in this thesis relies heavily on a comparative study of the themes and symbols in Borges's fiction in order to establish a pattern wherein infinity is portrayed negatively. More importantly, the use of interviews, biographies, and Borges's own fiction, facilitates the construction of cohesive conception of time in his work. Subsequently, this study looks to establish a solution to the problem of infinity and establish a new pattern wherein there is a positive resolution to the narrative. Ultimately, the goal of this thesis is to acknowledge the problem of infinity in Borges's work and then propose a way to escape it.

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