Figure moderniste à la fois centrale et marginale, radicale et anachronique, locale, cosmopolite et idiosyncratique, Marianne Moore (1887-1972) semble depuis ses débuts résister à la catégorisation. Son œuvre en vers et en prose permet ainsi de remettre en question les notions d’origines et d’originalité constamment invoquées dans les débats culturels sur l’Amérique, des années 1900 aux décennies suivant la seconde guerre mondiale. Tandis que, face à la hantise de la répétition, du retard, et de la dérivation, certains auteurs et critiques cherchent à recouvrer un fondement plus ou moins mythifiée, en passant ou non par l’Europe, elle tend à substituer à l’origine fixe les figures plurielles de l’amorce et du (re)commencement. Pour autant, son travail n’est aucunement voué aux idéaux de nouveauté et d’originalité artistiques. L’Amérique qu’elle décrit laisse affleurer les survivances de temps plus anciens, observées au filtre de multiples intermédiaires, visuels, scripturaires, et culturels. Le statut de l’auteur s’en trouve par là-même subverti, le créateur cédant le pas au lecteur, au critique, à l’artisan ou encore au bricoleur. Dès lors, la tradition n’est plus un modèle à refonder ou à exclure, mais le lieu d’aménagements continuels, où le mimétisme se révèle créatif et les importations étrangères une source d’expériences et d’adaptations, laissant toute place aux singularités irréductibles. L’enjeu de ce travail est d’étudier ces différents déplacements, ainsi que les redéfinitions qu’ils permettent autour de l’Amérique et de sa littérature. / As a modernist, Marianne Moore (1887-1972) appears both central and marginal, radical and anachronistic, local, cosmopolitan and idiosyncratic, and she seems to have resisted categorization ever since her first texts. Her verse and prose works therefore enable us to question the notions of origins and originality which constituted the heart of the cultural debates about America, from the 1900s to the decades following the Second World War. While, faced with the anxiety of repetition, belatedness and derivation, some authors and critics sought to recover a more or less mythical foundation, through Europe or not, she tended to replace the idea of a fixed origin with multiple beginnings and new starts. Yet, her work was not dedicated to the ideals of artistic novelty and originality. The America she described let the surviving forms of older times surface, and it was observed through a multiplicity of visual, scriptural or cultural intermediaries. The author’s status was thus questioned, giving way to more humble characters— the reader, the critic, the craftsman or the bricoleur. Tradition was no longer a model to be recovered or excluded, but the stage for continuous accommodation, through which mimicry could become creative and foreign imports could inspire experiments and adaptations, without erasing radical singularities. The purpose of this work is to study these various displacements, as well as the redefinitions of America and its literature they allowed.

Charles University in Prague, Faculty of Pharmacy in Hradec Králové Department of Biophysics and Physical Chemistry Candidate: Iveta Voborníková Thesis supervisor: doc. Dipl.-Math. Erik Jurjen Duintjer Tebbens, Ph.D. Title of diploma thesis: Matrix computations for mixtures and solutions In this work, we determined drug concentrations from mixtures using multicompo- nent analysis without separating them. The condition was the knowledge of the molar absorption coefficients of individual drugs for certain wavelenghts. To do this, we used tools from matrix calculations, especially the Moore-Penrose inverse, and we were in- terested in whether we would achieve more accurate results using standard, square systems or overdetermined systems of linear equations. Based on the results, we came to the conclusion that there is no dependence between the accuracy of the results and the number of wavelengths used. Only in some cases did the results appear to be more accurate when using overdetermined systems with a higher number of wavelengths. Keywords: mixtures, solutions, linear systems, least squares problems, Moore-Penrose pseudoinverses 1

Perhaps no one has had more influence on the role of political documentary in the contemporary public sphere than filmmaker Michael Moore. His unique melding of committed political arguments with an ironic reflexive style have changed the very look and feel of documentary film, contributing significantly to the form's newfound popularity. Furthermore, his steadfast commitment to progressive politics has given the issue of socioeconomic "class" the kind of attention it rarely receives within the mainstream media. However, Moore's films have also been the recipient of viscous attacks from his political opponents, and subject to some of the most contentious public debates over the documentary form since the 1960s. This study integrates documentary theory and poststructuralist discourse analysis within a critical/cultural studies perspective to map out the ways in which generic conventions, interpretive strategies and rhetorical maneuvers have often combined to undermine the political goals and cultural legitimacy of Michael Moore and his films. First, I look at the ways in which Moore's own deployment of a patronizing mode of address transforms his films into "fantasies of advocacy"; narratives that invite an imagined audience of fellow advocates to evaluate and judge the lives and behaviors of the working-class subjects depicted on-screen. Such a depiction only works to strengthen middle-class forms of social authority which have worked, historically, to encourage class resentment. Second, I describe the ways in which Moore is also undermined by a mass media system within which progressive views are not often welcome. I explain how a number of discursive logics worked to frame Moore at various times throughout his career as an untrustworthy documentarian pushing Leftist propaganda, as an "indie film auteur" providing innovative cinematic experiences to middle-class audiences, and as a savvy celebrity-huckster selling political entertainment to embattled liberals. Finally, I describe how Moore's opponents on the political Right exploited the problematic aspects of both his rhetorical strategies and public reception to paint Moore as a "Liberal Elitist," a move that worked to derail the political effectiveness of Fahrenheit 9/11 during the 2004 election. By describing the complex, public articulations of Michael Moore and his films, this study contributes to the fields of documentary studies, media studies, cultural studies and political rhetoric.

Esta tese apresenta uma proposta de aplicação de formalismos adaptativos na modelagem e elaboração de cursos para softwares educacionais. A princípio, soluções adaptativas podem ser incorporadas a qualquer tipo de dispositivo guiado por regras. Neste projeto, o dispositivo subjacente utilizado será a Máquina de Moore, que é um autômato finito com saída associada aos seus estados. Assim, para cada estado pode-se associar o material didático a ser apresentado pela função de saída. Aplicando-se os conceitos de adaptatividade nesse transdutor, é possível elaborar cursos dinâmicos, que se auto-modifiquem com base em regras definidas pelo professor e pelas experiências e nível de conhecimento individualizado dos alunos. Para complementar o trabalho, é apresentado um protótipo de curso baseado em Máquina de Moore Adaptativa. / This thesis presents a proposal for application of adaptive formalisms for modeling and development of courses for educational software. In principle, adaptive solutions can be incorporated into any type of device guided by rules. In this project, the device will be used behind the Moore Machine, which is a finite automaton with outputs associated with their states. Thus, for each state we can associate the material to be presented by the function output. Applying the concepts of adaptive technology this transducer, you can develop dynamic courses, which are self-modifying based on rules defined by the teacher, and the level of experience and knowledge of individual students. To complement the work is presented a prototype of course based on Adaptive Moore Machine.

Neste trabalho estenderemos os resultados obtidos por Hara [34] e J. Jaworowski [38] substituindo as G-variedades por G-variedades generalizadas sobre Z. Além disso, provamos uma fórmula de comparação geral para grau de aplicações de uma variedade generalizada sobre uma esfera que são equivariantes com respeito a ações de grupos finitos, obtendo uma generalização do resultado de A. Kushkuley e Z. Balanov [40] / In this work, we extend the results obtained by Y. Hara [34] and J. Jaworowski [38] by replacing the free G-manifolds by free generalized G-manifolds over Z. Moreover, we prove a general comparison formula for degrees of equivariant maps from a generalized manifold to a sphere which are equivariant with respect to finite group actions, obtaining a generalization of the result of A. Kushkuley and Z. Balanov [40]

Esta tese apresenta uma proposta de aplicação de formalismos adaptativos na modelagem e elaboração de cursos para softwares educacionais. A princípio, soluções adaptativas podem ser incorporadas a qualquer tipo de dispositivo guiado por regras. Neste projeto, o dispositivo subjacente utilizado será a Máquina de Moore, que é um autômato finito com saída associada aos seus estados. Assim, para cada estado pode-se associar o material didático a ser apresentado pela função de saída. Aplicando-se os conceitos de adaptatividade nesse transdutor, é possível elaborar cursos dinâmicos, que se auto-modifiquem com base em regras definidas pelo professor e pelas experiências e nível de conhecimento individualizado dos alunos. Para complementar o trabalho, é apresentado um protótipo de curso baseado em Máquina de Moore Adaptativa. / This thesis presents a proposal for application of adaptive formalisms for modeling and development of courses for educational software. In principle, adaptive solutions can be incorporated into any type of device guided by rules. In this project, the device will be used behind the Moore Machine, which is a finite automaton with outputs associated with their states. Thus, for each state we can associate the material to be presented by the function output. Applying the concepts of adaptive technology this transducer, you can develop dynamic courses, which are self-modifying based on rules defined by the teacher, and the level of experience and knowledge of individual students. To complement the work is presented a prototype of course based on Adaptive Moore Machine.

Michael Moore est une icône culturelle aux États-Unis. Son nom évoque la polémique, la contestation politique mais aussi le film documentaire à succès (Bowling For Columbine, primé aux Oscars, Fahrenheit 9/11, Palme d’Or à Cannes). Les six films du corpus, —Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) et Captain Mike Across America (Slacker Uprising) (2008) —, posent une triple problématique : la tension entre documentaire classique et documentaire hybride, la présence/absence du documentariste dans son film, et la réception du spectateur organisée par le divertissement et/ou la politique. Trois axes majeurs émergent, autour desquels l’articulation de la thèse peut s’effectuer : le divertissement, la politique et l’autosuffisance. La méthodologie pour rendre compte de cette triple problématique résulte d’un montage quali-quanti. Il s’agit de faire appel à l’analyse de discours mais aussi à l’analyse de contenu (pour mesurer la présence de manière quantitative). L’histoire américaine et l’histoire du documentaire sont également nécessaires pour situer Moore à la fois dans la lignée de certains de ses ainés, mais aussi pour mesurer sa propre influence sur le genre avec ses propres héritiers. Au bout du processus, il est possible de constater que Moore a insufflé un nouvel élan dans le genre du film documentaire en rejetant le modèle classique de type info-argument, rendant ses productions aussi populaires que des blockbusters hollywoodiens. Cette transformation vient de la combinaison inédite des finalités de divertissement et de politique pour créer un documentaire à la Michael Moore du type info-tainment. Avec l’ajout d’une troisième finalité d’autosuffisance, le documentaire moorien se signale aussi par une augmentation considérable de la présence du documentariste à l’écran et une densification de ses interventions au montage. En modifiant le documentaire classique, Moore a mis en place plusieurs stratégies de regard et de récit/storytelling afin de favoriser une assimilation efficace de ces trois finalités dans l’esprit du spectateur. / Michael Moore is a cultural icon in the United States. The mere mention of his name evokes polemics, political protest but also blockbuster documentary films (The Academy award winning Bowling For Columbine and Fahrenheit 9/11 which won the Palme d’Or at Cannes). The six films of this corpus—Roger & Me (1989), The Big One (1998), Bowling For Columbine (2002), Fahrenheit 9/11 (2004), Sicko (2007) and Captain Mike Across America (Slacker Uprising) (2008)—, are problematic in three ways: the discordant relationship between classic and hybrid documentary, the presence/absence of the documentary filmmaker in his own film, and the spectator’s reception of the film along the lines of entertainment and/or politics. Three main areas, thus, emerge around which the thesis can be constructed: entertainment, politics and self-sufficiency. The methodology used to attend to these three matters of discussion comes directly from quali-quanti research. This implies calling on discourse analysis but also content analysis (to measure Moore’s presence quantitatively).The history of the United States as well as that of the documentary film are also necessary to situate Moore not only in the footsteps of some of his predecessors but also to measure his own influence on the genre as evidenced by his very own successors. Ultimately, it can be noted that Moore has breathed new life into the documentary film genre by rejecting the traditional info-argument model, thereby making his films as successful as Hollywood blockbusters.This transformation arises from the unique combination of entertainment and politics to make a Michael Moore info-tainment style documentary. With the added third documentary finality of self-sufficiency, the Michael Moore documentary film is marked by a considerable increase of the filmmakers on-screen presence as well as density of the documentarian’s interventions in the editing room. By modifying the traditional documentary film form, Moore has established several strategies of gaze and narrative/storytelling in order to stimulate the effective absorption of his three main documentary finalities into the mind of the spectator.

La thèse se situe dans le domaine de l'analyse latticielle de données dans la situation, très générale, ou des objets de nature diverse sont décrits par des variables de types divers ; on fait simplement l'hypothèse (réaliste) selon laquelle chaque variable prend ses valeurs dans un treillis. Les problèmes de traitement de telles données (extraction de connaissance) reviennent souvent à chercher à obtenir des familles de Moore de type particulier, par exemple arborescent, et donc à imposer des contraintes structurelles. Dans ce cadre, nous étudions d'abord les familles de Moore particulières que sont les hiérarchies, dont nous caractérisons la base canonique d'implications. Pour ce faire, nous introduisons un nouveau type de relations binaires sur les parties d'un ensemble, appelées (\em relations d'emboitement). Nous les mettons en correspondance bi-univoque avec les familles de Moore quelconques, établissons leur lien avec l'une des relations flèche, et revenons sur leurs propriétés dans le cas hiérarchique, ou elles sont d'abord apparues. Dans une seconde partie, nous nous intéressons à la correspondance de Galois associée à un tableau binaire (auquel les données du type indiqué ci-dessus peuvent toujours être ramenées). Nous examinons alors les contraintes à imposer à un tableau binaire pour que les fermés obtenus appartiennent à des familles de Moore prescrites, ou de type voulu. On obtient alors des relations binaires dites (\em bifermées). Etant donnés deux espaces de fermeture $(E, \varphi)$ et $(E', \varphi')$, une relation est bifermée si toute ligne de sa représentation matricielle correspond à un fermé par $\varphi$, et toute colonne à un fermé par $\varphi'$. Nous établissons l'isomorphisme entre l'ensemble des relations bifermées et celui des correspondances de Galois entre les deux treillis de fermés induits par $\varphi$ et $\varphi'$. Dans le cas fini, on en déduit des algorithmes efficaces pour l'ajustement d'une correspondance de Galois à une application quelconque entre deux treillis, ou pour le calcul du supremum de deux polarités. Dans une troisième partie, nous appliquons les résultats précédents à l'étude de l'introduction de contraintes classificatoires sur un tableau de données. Nous revenons sur divers usages des correspondances de Galois (ou des couples application résiduée / résiduelle) dans les modèles et les méthodes de la classification. Ceux-ci sont revisités dans l'optique d'une présentation unifiée fondée sur les bifermées, et, en prenant en compte les résultats de la première partie, des voies sont tracées pour la définition de nouvelles méthodes. Ces parties sont précédées d'une synthèse sur les treillis et les correspondances de Galois.

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 137-144)

L’œuvre polymorphe de Claude Cahun, auteure-artiste de la première moitié du XXe siècle, et de Moore, artiste-plasticienne, repose essentiellement sur l’idée de partage. De 1913 à 1954, Cahun et Moore ont élaboré une œuvre qui relève en grande partie d’une création partagée, c’est-à-dire qu’elle est faite à quatre mains de manière symbiotique, tandis qu’une autre partie est assumée par chacune des collaboratrices. Leur travail prend la double voie de l’écriture et de l’expression artistique (dessin, photographie, photomontage, objet) pour placer leur vision du sujet équivoque et de l’art sous le signe du multiple. Dans la perspective d’étudier l’écriture et l’image comme deux moyens d’expression indissociables, la notion de partage permettra de penser la démarche cahunienne et celle de Moore entre les mouvements et les genres littéraires, entre une auteure et une artiste, entre le sujet et ses doubles, entre les arts et les enjeux médiatiques. En proposant la notion de partage comme concept opératoire, cette thèse de doctorat s’attache à recontextualiser l’œuvre selon la triple appartenance de Cahun-Moore à l’histoire culturelle et littéraire, embrassant à la fois la fin du XIXe siècle et la première moitié du XXe siècle, le symbolisme tardif, le modernisme et l’avant-garde surréaliste. Leur vision de l’œuvre comme espace de partage entre le textuel et le visuel s’accomplit par une collaboration entre auteure et artiste visuelle qui redéfinit le statut du créateur solitaire. Il s’agira également de revoir la démarche d’autoreprésentation à partir de la notion de partage ; la construction du Soi passe par le dédoublement sur le papier ou la pellicule pour exprimer l’être-au-monde d’un sujet qui ne se reconnaît pas dans les catégories genrées et identitaires univoques. L’acte de partage aboutit dans la création d’une œuvre hybride alliant les mots et les images dans un dispositif qui dépasse la relation illustrative du texte par l’image pour favoriser le dialogue des médias. Le partage s’impose comme la notion par excellence pour saisir une œuvre qui a fait du dédoublement – des filiations, des intertextes, du créateur, de l’identité et de l’œuvre même – son modus operandi. / The polymorphic work of Claude Cahun, author and artist from the first half of the 20th century, and Moore, visual artist, is essentially based on the idea of sharing. From 1913 to 1954, Cahun and Moore developed a work that relies in part on shared creation, that is to say, it is produced symbiotically by two collaborators, but whereas another part is undertaken solely by one of the artists. Their work takes on the double path of writing and artistic expression (drawing, photography, photomontage, object) to express their vision of the equivocal subject and art under the sign of the multiple. With the perspective of studying writing and the image as two inseparable means of expression, the notion of sharing will allow to consider both Cahun’s and of Moore’s approach between literary and artistic movements and genres, between an author and an artist, between the subject and its doubles and between the arts and the media issues. By proposing the notion of sharing as an operational concept, this thesis seeks to recontextualize Cahun’s and Moore’s work according to its belonging in the cultural and literary history of late symbolism, modernism and the surrealist avant-garde, embracing both the late 19th century and the first half of the 20th century. Their vision of the work as a space for sharing between the textual and the visual is accomplished by a collaboration between author and visual artist, which redefines the status of the solitary creator. I will also approach the self-representation approach from the notion of sharing as the identity construction of the Self, through many self-projections on paper or film, goes through duplication to express the être-au-monde of a subject that does not recognize itself within the boundaries of univocal gendered and identity categories. The act of sharing results in the creation of a hybrid work combining words and images in a process that goes beyond the illustration of the text by the image to favor dialogue between media. Sharing is essential as the notion par excellence to capture a work that has made out of duplication – of filiations, intertexts, creator, identity and the oeuvre itself – its modus operandi.