Les divinités vénérées par les Aztèques dans le Mexique central étaient nombreuses et complexes. Afin de mieux comprendre ces entités, les chercheurs ont adopté différentes approches dans leurs études au cours des dernières décennies, mais la matérialité des parures divines est restée un sujet peu exploré. Malgré l’importance que l’on reconnaît aux attributs, aucune étude ne s’est intéressée de manière globale et systématique aux matériaux qui constituaient les dieux et à leurs significations. Pourtant, ces derniers étaient au fondement des divinités qui incarnaient notamment des manifestations naturelles et se matérialisaient dans le monde des hommes au moyen de formes physiques constituées de matériaux prélevés dans la nature. Elles pouvaient alors être représentées ou bien personnifiées par des statues ou des hommes revêtant les parures de ces entités. L’objectif de cette thèse est de proposer une méthode d’analyse des divinités d’un point de vue emic, fondée sur le déchiffrement de leurs parures et donc sur l’étude systématique des éléments naturels utilisés ou symbolisés dans celles-ci. En décomposant les parures de Tlaloc et de Huitzilopochtli, ce travail met en évidence les significations des matériaux en rapport avec les formes qu’ils prenaient (c’est-à-dire les attributs portés) et les supports corporels des dieux, ceci afin de restituer ce que représentaient ces deux entités pour les Aztèques et comprendre les variations qui affectaient leurs parures d’un contexte à un autre. Apparaît une conception de ces dieux parfois différente de celle que l’on pouvait en avoir, héritée des religieux et des conquérants espagnols. / The deities honored by the Aztecs of Central Mexico were numerous and complex. In order to better understand these entities, Mesoamericanists have addressed this topic from different approaches over the past decades, but the materiality of the gods’ costumes has remained a little-explored subject. Despite the fact that the importance of the attributes is acknowledged by scholars, no study to this date has ever proposed a global and systematic analysis of the materials that composed the deities and of their meanings. However, they were a central part of the deities, given that most of them embodied natural phenomena and showed themselves in the world of men by means of physical forms made of materials taken from nature. In that case, they could be represented or personified by men who wore the costumes of these entities. The contribution of my dissertation is based on the development of a methodology to study the deities from an emic perspective and decipher the meaning of their costumes, which implies a systematic analysis of the natural elements they used or symbolized. By decomposing the costumes of Tlaloc and Huitzilopochtli, this work emphasizes the meanings of the natural elements in relation to the forms they took (i.e. the attributes worn) and the gods’ bodies, in order to understand what these two entities represented for the Aztecs and why their costumes could vary depending on the context. What comes to light is a conception of Tlaloc and Huitzilopochtli that can be different from the one we had, inherited from the Spanish missionaries and conquerors.

A Natural nEighbours Method (NEM) based on the FRAEIJS de VEUBEKE (FdV) variational principle is developed in the domain of 2D infinitesimal transformations. This method is firstly applied to linear elastic problems and then is extended to materially nonlinear problems and problems of linear elastic fracture mechanics (LEFM). In all these developments, thanks to the FdV variational principle, the displacement field, the stress field, the strain field and the support reaction field are discretized independently. In the spirit of the NEM, nodes are distributed in the domain and on its contour and the corresponding Voronoi cells are constructed. In linear elastic problems the following discretization hypotheses are used: 1. The assumed displacements are interpolated between the nodes with Laplace functions. 2. The assumed support reactions are constant over each edge of Voronoi cells on which displacements are imposed. 3. The assumed stresses are constant over each Voronoi cell. 4. The assumed strains are constant over each Voronoi cell. The degrees of freedom linked with the assumed stresses and strains can be eliminated at the level of the Voronoi cells so that the final equation system only involves the nodal displacements and the assumed support reactions. The support reactions can be further eliminated from the equation system if the imposed support conditions only involve constant imposed displacements (in particular displacements imposed to zero) on a part of the solid contour, finally leading to a system of equations of the same size as in a classical displacement-based method. For the extension to materially non linear problems, similar hypotheses are used. In particular, the velocities are interpolated by Laplace functions and the strain rates are assumed to be constant in each Voronoi cell. The final equations system only involves the nodal velocities. It can be solved step by step by time integration and Newton-Raphson iterations at the level of the different time steps. In the extension of this method for LEFM, a node is located on each crack tip. In the Voronoi cells containing the crack tip, the stress and the strain discretization includes not only a constant term but also additional terms corresponding to the solutions of LEFM for modes 1 and 2. In this approach, the stress intensity coefficients are obtained as primary variables of the solution. The final equations system only involves the nodal displacements and the stress intensity coefficients. Finally, an eXtended Natural nEighbours Method (XNEM) is proposed in which the crack is represented by a line that does not conform to the nodes or the edges of the cells. Based on the hypotheses used in linear elastic domain, the discretization of the displacement field is enriched with Heaviside functions allowing a displacement discontinuity at the level of the crack. In the cells containing a crack tip, the stress and strain fields are also enriched with additional terms corresponding to the solutions of LEFM for modes 1 and 2. The stress intensity coefficients are also obtained as primary variables of the solution. A set of applications are performed to evaluate these developments. The following conclusions can be drawn for all cases (linear elastic, nonlinear, fracture mechanics). In the absence of body forces, the numerical calculation of integrals over the area of the domain is avoided: only integrations on the edges of the Voronoi cells are required, for which classical Gauss numerical integration with 2 integration points is sufficient to pass the patch test. The derivatives of the nodal shape functions are not required in the resulting formulation. The patch test can be successfully passed. Problems involving nearly incompressible materials can be solved without incompressibility locking in all cases. The numerical applications show that the solutions provided by the present approach converge to the exact solutions and compare favourably with the classical finite element method. / Une méthode des éléments naturels (NEM) basée sur le principe variationnel de FRAEIJS de VEUBEKE (FdV) est développée dans le domaine des transformations infinitésimales 2D. Cette méthode est dabord appliquée aux problèmes élastiques linéaires puis est étendue aux problèmes matériellement non linéaires ainsi quà ceux de la mécanique de la rupture élastique linéaire (LEFM). Dans tous ces développements, grâce au principe variationnel de FdV, les champs de déplacements, contraintes, réformations et réactions dappui sont discrétisés de façon indépendante. Dans lesprit de la NEM, des noeuds sont distribués dans le domaine et sur son contour et les cellules de Voronoi associées sont construites. En domaine élastique linéaire, les hypothèses de discrétisation sont les suivantes : 1. Les déplacements sont interpolés entre les noeuds par des fonctions de Laplace. 2. Les réactions dappui sont supposées constantes sur chaque côté des polygones de Voronoi le long desquels des déplacements sont imposés. 3. Les contraintes sont supposées constantes sur chaque cellule de Voronoi. 4. Les déformations sont supposées constantes sur chaque cellule de Voronoi. Les degrés de liberté associés aux hypothèses sur les contraintes et les déformations peuvent être éliminées au niveau des cellules de Voronoi de sorte que le système déquations final nimplique que les déplacement nodaux et les réactions dappui supposées. Ces dernières peuvent également être éliminées de ce système déquations si les conditions dappui nimposent que des déplacements constants (en particulier égaux à zéro) sur une partie du contour du domaine étudié, ce qui conduit à un système déquations de même taille que dans une approche basée sur la discrétisation des seuls déplacements. Pour lextension aux problèmes matériellement non linéaires, des hypothèses similaires sont utilisées. En particulier, les vitesses sont interpolées par des fonctions de Laplace et déformations sont supposées constantes sur chaque cellule de Voronoi. Le système déquations final nimplique que les vitesses nodales. Il peut être résolu pas à pas par intégration temporelle et itérations de Newton-Raphson à chaque pas de temps. Pour lextension de cette méthode aux problèmes de LEFM, un noeud est localisé à chaque pointe de fissure. Dans les cellules de Voronoi correspondantes, la discrétisation des contraintes et des déformations contient non seulement un terme constant mais aussi des termes additionnels correspondant aux solutions de la LEFM pour les modes 1 et 2. Avec cette approche, les coefficients dintensité de contraintes constituent des variables primaires de la solution. Le système déquations final ne contient que les déplacements nodaux et les coefficients dintensité de contraintes. Finalement, une méthode des éléments naturels étendue (XNEM) est proposée dans laquelle la fissure est représentée par une ligne indépendante des noeuds ou des côtés des cellules de Voronoi. La discrétisation utilisée en domaine élastique linéaire est enrichie par des fonctions de Heaviside qui autorisent une discontinuité des déplacements au niveau de la fissure. Dans les cellules contenant une pointe de fissure, les contraintes et les déformations sont aussi enrichies par des termes additionnels correspondant aux solutions de la LEFM pour les modes 1 et 2. Ici aussi, les coefficients dintensité de contraintes constituent des variables primaires de la solution. Une série dapplications numériques sont réalisées afin dévaluer ces développements. Les conclusions suivantes peuvent être tirées. Elles sappliquent à tous les cas (élastique linéaire, non linéaire, mécanique de la rupture) : En labsence de force volumique, le calcul numérique dintégrales sur laire du domaine est évité : seules sont nécessaires des intégrales numériques sur les côtés des cellules de Voronoi. Lutilisation de 2 points de Gauss suffit pour passer le patch test. Les dérivées des fonctions dinterpolation nodales ne sont pas nécessaires dans cette formulation. La formulation passe le patch test. Les problèmes impliquant des matériaux quasi incompressibles sont résolus sans verrouillage. Les applications numériques montrent que les solutions fournies par lapproche développée convergent vers les solutions exactes et se comparent favorablement avec celles de la méthode des éléments finis.

O estudo descrito nessa dissertação abrange conhecimentos referentes às áreas de Biônica, Biomorfismo, Artes Visuais e Design de Superfície propondo um procedimento de projetação voltado para a elaboração de estampas têxteis com referência em elementos naturais. Considerando a natureza como fonte de referências visuais para a projetação no Design de Superfície, percebeu-se que associar pressupostos estéticos presentes na área com etapas de métodos de Design de Produto baseados em estudos de Biônica, poderia contribuir com a produção criativa dos desenhos de estampas. Desse modo, disponibiliza-se à audiência acadêmica e profissional um procedimento de projetação organizado a partir de um estudo exploratório-experimental com abordagem qualitativa, estruturado por revisão bibliográfica, entrevistas e experimentações. A primeira organização do procedimento foi realizada através da adaptação de etapas de três métodos de Design de Produto com base em estudos de Biônica. O procedimento resultante foi avaliado e aperfeiçoado a partir de quatro experimentações realizadas com estudantes e profissionais da área. O resultado é um procedimento com oito passos voltado ao desenvolvimento de estampas com referências biomórficas. A pesquisa aponta que o contato direto do designer de superfície com o elemento natural, aliado ao resgate de técnicas de desenho manual e à reflexão contínua dos procedimentos adotados durante a projetação, contribui com o planejamento e processo de desenvolvimento de estampas pelos projetistas. Ou seja, projetar a partir de etapas organizadas e adaptáveis conforme as necessidades de cada briefing facilita o processo de projetação de estampas com referências naturais e converge para novos resultados na perspectiva de contribuir com as produções disponíveis no mercado atualmente. A conclusão do trabalho oferece algumas possibilidades de prosseguimento da pesquisa, como a organização de cursos envolvendo conhecimentos das áreas de Design de Superfície e Biônica e a verificação e aplicação do procedimento aqui proposto no âmbito industrial. / The study described in this dissertation covers knowledge regarding areas of Bionics, Biomorphism, Visual Arts and Surface Design to propose a procedure for developing textile designs which incorporate natural elements. Considering nature as a source of visual references for projecting in the surface design, it was realized that associating esthetic assumptions present in the area with steps of methods of product design based in studies in Bionics could contribute with the creative production of drawings in prints. In this way, it is made available to the academic and professional audience a projecting procedure organized based on an exploratory-experimental study with qualitative approach, structured in literature review, interviews and experimentations. The first procedure organization was performed through adaptation of steps of three methods of product design based on Bionics studies. The resulting procedure was evaluated and improved from four experiments performed with students and professionals in the field. The result is a procedure with eight steps focused on the development of patterns with biomorphic references. The research suggests that direct contact from the designer with the natural elements, coupled with the rescue of hand drawing techniques and continuous reflection of the procedures adopted during the development contributes to the creative process by facilitating the search for visual references. In other words, projecting from arranged and adaptable steps according to the projective needs eases the procedure of prints projecting with natural references and converges to creative and differentiated results which can contribute to the products available nowadays in the market. The conclusion of the study offers some possibilities for further research, as the organization of courses involving knowledge of the areas of Surface Design and Bionics and the verification and application of the procedure proposed here in the industrial field.

O estudo descrito nessa dissertação abrange conhecimentos referentes às áreas de Biônica, Biomorfismo, Artes Visuais e Design de Superfície propondo um procedimento de projetação voltado para a elaboração de estampas têxteis com referência em elementos naturais. Considerando a natureza como fonte de referências visuais para a projetação no Design de Superfície, percebeu-se que associar pressupostos estéticos presentes na área com etapas de métodos de Design de Produto baseados em estudos de Biônica, poderia contribuir com a produção criativa dos desenhos de estampas. Desse modo, disponibiliza-se à audiência acadêmica e profissional um procedimento de projetação organizado a partir de um estudo exploratório-experimental com abordagem qualitativa, estruturado por revisão bibliográfica, entrevistas e experimentações. A primeira organização do procedimento foi realizada através da adaptação de etapas de três métodos de Design de Produto com base em estudos de Biônica. O procedimento resultante foi avaliado e aperfeiçoado a partir de quatro experimentações realizadas com estudantes e profissionais da área. O resultado é um procedimento com oito passos voltado ao desenvolvimento de estampas com referências biomórficas. A pesquisa aponta que o contato direto do designer de superfície com o elemento natural, aliado ao resgate de técnicas de desenho manual e à reflexão contínua dos procedimentos adotados durante a projetação, contribui com o planejamento e processo de desenvolvimento de estampas pelos projetistas. Ou seja, projetar a partir de etapas organizadas e adaptáveis conforme as necessidades de cada briefing facilita o processo de projetação de estampas com referências naturais e converge para novos resultados na perspectiva de contribuir com as produções disponíveis no mercado atualmente. A conclusão do trabalho oferece algumas possibilidades de prosseguimento da pesquisa, como a organização de cursos envolvendo conhecimentos das áreas de Design de Superfície e Biônica e a verificação e aplicação do procedimento aqui proposto no âmbito industrial. / The study described in this dissertation covers knowledge regarding areas of Bionics, Biomorphism, Visual Arts and Surface Design to propose a procedure for developing textile designs which incorporate natural elements. Considering nature as a source of visual references for projecting in the surface design, it was realized that associating esthetic assumptions present in the area with steps of methods of product design based in studies in Bionics could contribute with the creative production of drawings in prints. In this way, it is made available to the academic and professional audience a projecting procedure organized based on an exploratory-experimental study with qualitative approach, structured in literature review, interviews and experimentations. The first procedure organization was performed through adaptation of steps of three methods of product design based on Bionics studies. The resulting procedure was evaluated and improved from four experiments performed with students and professionals in the field. The result is a procedure with eight steps focused on the development of patterns with biomorphic references. The research suggests that direct contact from the designer with the natural elements, coupled with the rescue of hand drawing techniques and continuous reflection of the procedures adopted during the development contributes to the creative process by facilitating the search for visual references. In other words, projecting from arranged and adaptable steps according to the projective needs eases the procedure of prints projecting with natural references and converges to creative and differentiated results which can contribute to the products available nowadays in the market. The conclusion of the study offers some possibilities for further research, as the organization of courses involving knowledge of the areas of Surface Design and Bionics and the verification and application of the procedure proposed here in the industrial field.

O estudo descrito nessa dissertação abrange conhecimentos referentes às áreas de Biônica, Biomorfismo, Artes Visuais e Design de Superfície propondo um procedimento de projetação voltado para a elaboração de estampas têxteis com referência em elementos naturais. Considerando a natureza como fonte de referências visuais para a projetação no Design de Superfície, percebeu-se que associar pressupostos estéticos presentes na área com etapas de métodos de Design de Produto baseados em estudos de Biônica, poderia contribuir com a produção criativa dos desenhos de estampas. Desse modo, disponibiliza-se à audiência acadêmica e profissional um procedimento de projetação organizado a partir de um estudo exploratório-experimental com abordagem qualitativa, estruturado por revisão bibliográfica, entrevistas e experimentações. A primeira organização do procedimento foi realizada através da adaptação de etapas de três métodos de Design de Produto com base em estudos de Biônica. O procedimento resultante foi avaliado e aperfeiçoado a partir de quatro experimentações realizadas com estudantes e profissionais da área. O resultado é um procedimento com oito passos voltado ao desenvolvimento de estampas com referências biomórficas. A pesquisa aponta que o contato direto do designer de superfície com o elemento natural, aliado ao resgate de técnicas de desenho manual e à reflexão contínua dos procedimentos adotados durante a projetação, contribui com o planejamento e processo de desenvolvimento de estampas pelos projetistas. Ou seja, projetar a partir de etapas organizadas e adaptáveis conforme as necessidades de cada briefing facilita o processo de projetação de estampas com referências naturais e converge para novos resultados na perspectiva de contribuir com as produções disponíveis no mercado atualmente. A conclusão do trabalho oferece algumas possibilidades de prosseguimento da pesquisa, como a organização de cursos envolvendo conhecimentos das áreas de Design de Superfície e Biônica e a verificação e aplicação do procedimento aqui proposto no âmbito industrial. / The study described in this dissertation covers knowledge regarding areas of Bionics, Biomorphism, Visual Arts and Surface Design to propose a procedure for developing textile designs which incorporate natural elements. Considering nature as a source of visual references for projecting in the surface design, it was realized that associating esthetic assumptions present in the area with steps of methods of product design based in studies in Bionics could contribute with the creative production of drawings in prints. In this way, it is made available to the academic and professional audience a projecting procedure organized based on an exploratory-experimental study with qualitative approach, structured in literature review, interviews and experimentations. The first procedure organization was performed through adaptation of steps of three methods of product design based on Bionics studies. The resulting procedure was evaluated and improved from four experiments performed with students and professionals in the field. The result is a procedure with eight steps focused on the development of patterns with biomorphic references. The research suggests that direct contact from the designer with the natural elements, coupled with the rescue of hand drawing techniques and continuous reflection of the procedures adopted during the development contributes to the creative process by facilitating the search for visual references. In other words, projecting from arranged and adaptable steps according to the projective needs eases the procedure of prints projecting with natural references and converges to creative and differentiated results which can contribute to the products available nowadays in the market. The conclusion of the study offers some possibilities for further research, as the organization of courses involving knowledge of the areas of Surface Design and Bionics and the verification and application of the procedure proposed here in the industrial field.

The dissertation focuses on two general categories of defining space: on space expression according to the expressive approach to aesthetics and, secondly, on space representation based on the mimetic aesthetics. The exploration of the surface structure of space employs the philosophical categories of smooth and striated space, formulated by Deleuze and Guattari in their Treatise on Nomadology, while the depths of the inner spaces, including the spaces of the human mind, are treated within the framework of Gaston Bachelard's phenomenology, stressing the importance of the symbolic meanings hidden in the unconscious. The primary texts in which the concept of space is explored range from the Brontë sisters' novels (Wuthering Heights, Jane Eyre) to Thomas Hardy's Wessex novels, and further on to the last novel of George Eliot, Daniel Deronda. Attention is given to the role of natural elements constituting space, with emphasis on the element of water.

Submitted by Jailda Nascimento (jmnascimento@pucsp.br) on 2016-09-27T19:33:58Z No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) / Made available in DSpace on 2016-09-27T19:33:59Z (GMT). No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) Previous issue date: 2016-06-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research focuses on a classic work of Spanish Christianity of the Sixteenth Century, whose purpose is to study the Material and Mystical Imagination: traces of the four natural elements present in the work Interior Castle of St. Teresa d'Ávila. The object of research is composed of two aspects, one material or general and other formal or specific. The material aspect is the work Interior Castle of St. Teresa of Jesus. The formal aspect of the object is to identify traces of the four symbolic natural elements present in the mystical narrative. For that, we turn to the theoretical Gaston Bachelard in order to identify the four natural elements in the work. The ways, methodological procedures, which intended to follow to the resolution of the problem of this research are theoretical. In the theoretical field, will be developed a literature search (presented the authors / researchers in justification and bibliography) that approximates the question of religiosity, spirituality and mystic with the question of culture. First, we will do an approximatively reading to familiarize with the text, from the lens of the four natural elements, that is, imagination material in Gaston Bachelard. Then we will perform the collection of the Castle Interior work passages that indicate the presence of the four natural elements, that is, the material imagination. Thus, will be held the book report of the work and explored the passages according to the prospect of symbolic hermeneutics based on Gaston Bachelard. The third, final step in this process, is to apply the interpretation methodology, that is, the symbolic hermeneutic. That way, we will use for this research the symbolic hermeneutics in the work Interior Castle, from studies about material imagination in Gaston Bachelard / A pesquisa focaliza uma obra clássica do Cristianismo espanhol do século XVI, cuja finalidade é estudar a Imaginação Material e Mística: traços dos quatro elementos naturais presentes na obra Castelo Interior de Santa Teresa d'Ávila. O objeto da pesquisa é composto por dois aspectos, um material ou geral e outro formal ou específico. O aspecto material é a obra Castelo Interior, de Santa Teresa de Jesus. O aspecto formal do objeto é identificar traços dos quatro elementos naturais simbólicos presentes na narrativa mística. Para tanto, recorreremos ao teórico Gaston Bachelard a fim de identificar os quatro elementos naturais na obra. Os caminhos, procedimentos metodológicos, que se pretendem seguir para a resolução do problema desta pesquisa são teóricos. No campo teórico, desenvolver-se-á uma pesquisa bibliográfica (apresentados os autores / pesquisadores na justificativa e na bibliografia) que aproxime a questão da religiosidade, espiritualidade e mística com a questão da cultura. Primeiro, faremos uma leitura aproximativa para familiarizar com o texto, a partir da lente dos quatro elementos naturais, ou seja, imaginação material em Gaston Bachelard. Em seguida, realizaremos a coleta dos trechos da obra Castelo Interior que indiquem a presença dos quatro elementos naturais, ou seja, a imaginação material. Dessa forma, será realizado o fichamento da obra e explorados os trechos conforme a perspectiva da hermenêutica simbólica baseada em Gaston Bachelard. O terceiro, último passo nesse processo, é aplicar a metodologia de interpretação, isto é, a hermenêutico simbólica. Dessa maneira, utilizaremos para essa pesquisa a hermenêutico simbólica na obra Castelo Interior a partir dos estudos sobre a imaginação material em Gaston Bachelard

Afin de surmonter les difficultés de la méthode des éléments finis (MEF) liées à la forte dépendance de la solution au maillage, des méthodes sans maillage ont été développées durant les 20 dernières années. Ces techniques ont l’avantage de procurer des approximations très régulières, capables de répondre de manière plus satisfaisante aux exigences croissantes des applications. Cependant, certaines caractéristiques intrinsèques à la plupart de ces approches rendent leur mise en œuvre difficile : souvent des techniques supplémentaires spécifiques doivent être mises en place pour imposer les conditions aux limites et traiter les discontinuités physiques. Récemment, la méthode des éléments naturels (MEN) est apparue, se basant sur les concepts de diagramme de Voronoï et de voisins naturels. C’est une approche capable d’associer les avantages d’une approximation très régulière propre aux méthodes sans maillage et une mise en œuvre quasiment identique à la MEF. Cette thèse porte sur l’étude et le développement de la MEN dédiée aux applications du génie électrique. Le but principal de ce travail exploratoire est l’étude des limitations ainsi que des avantages et du potentiel de la MEN et ses concepts sous-jacents. Les analyses de performances de la méthode sont présentées. Sur les points ouverts tels que l’intégration numérique, la montée en ordre et l’interpolation vectorielle, des développements originaux sont proposés. / In order to overcome the limitations related to the finite element method’s (FEM) narrow dependency of the solution on the mesh, meshless or meshfree methods were developed over the last 20 years. These techniques present the advantage of yielding very smooth approximations, being able to respond more adequately to the increasing demands of applications. However, some intrinsic features of most of these approaches make the implementation difficult, often requiring additional specific techniques for the imposition of the boundary conditions and the treatment of physical discontinuities. Recently, the natural element method (NEM) was developed. This approach, based on the Voronoi diagram and the “natural neighbors” concepts, combines the advantages of very smooth approximations and a FEM-like implementation. This thesis focuses on the study and development of the NEM, dedicated to electrical engineering applications. The main purpose of this exploratory work is the study of the limitations, benefits and the potential of the NEM and its underlying concepts. Several analyses of NEM’s performance are presented. As far as the numerical integration, higher order approximations and the vector interpolation are concerned, original developments are proposed.

Jusqu’à une époque récente, un juriste étudiait un modèle juridique donné car il le considérait comme le meilleur. Telle est la constatation formulée par les comparatistes Antonio Gambaro, Rodolfo Sacco et Louis Vogel dans les premières lignes de leur Droit de l’Occident et d’ailleurs. Cette attitude cadre difficilement avec le contexte globalisant actuel. En revanche, un nombre croissant de juristes manifestent un intérêt renouvelé à l’égard du génie propre aux différentes traditions juridiques. À l’intérieur même d’une tradition juridique, un recul théorique est parfois nécessaire afin de mieux en apprécier la sagesse. Pour H. Patrick Glenn, la tradition juridique est vivante et évolutive. Le droit civil privé du Québec, branche de la tradition romaniste, constitue la résultante d’un processus de transmission de connaissances juridiques dont la pertinence est constamment mise à l’épreuve du temps et du contexte social. Très tôt, les dépositaires du savoir issu de la tradition romaniste ont cherché à définir la place de l’être humain dans la nature et cela, à toute époque confondue. La relation humaine avec la terre a fait l’objet de réflexions juridiques poussées dans le droit classique comme dans le droit moderne. Le droit des biens privé du Québec, branche fondamentale du droit civil, a intériorisé et adapté la somme de ce savoir à son propre contexte social et historique. La conception juridique de la terre a varié considérablement à l’intérieur même de la tradition romaniste. Ce mémoire propose une étude des représentations sociales et historiques de la terre dans la tradition romaniste. Cette étude a été menée en recourant à une approche interdisciplinaire du droit qui puise dans le savoir des disciplines philosophiques et historiques. Au terme de cette analyse, il sera établi que la structure de la propriété civiliste a conduit à une fragmentation juridique de la terre en autant d’utilités qu’il est techniquement possible pour l’être humain d’en tirer. / Until recently, legal scholars studied the specific legal model which was considered to be the best. This is the conclusion reached by comparative scholars Antonio Gambaro, Rodolfo Sacco and Louis Vogel in the first lines of Droit de l’Occident et d’ailleurs. This approach is difficult to reconcile within the context of our current globalized world. Therefore, a growing number of legal scholars have manifested a renewed interest in the strengths of different legal traditions. Within a legal tradition a theoretical examination is sometimes necessary in order to better appreciate its wisdom. For Patrick H. Glenn, legal tradition is living and evolving. Quebec Civil law, from the Roman tradition, is the result of a process of transmission of legal knowledge whose relevance is constantly put to the test of time and social context. Early on and during all ages, those responsible for transmitting the knowledge of the Roman tradition searched for ways to define the place of human beings within nature. The relationship between humans and the land has been the subject of numerous legal reflections both within classic and modern law. The law of private property in Quebec, a fundamental branch aspect of civil law, has internalized and adapted these reflections within its particular social and historical context. The legal concept of the land has varied considerably within the Roman tradition. This thesis proposes a study of social and historical representations of the land within the Roman tradition. It is rooted in an interdisciplinary legal approach, guided by philosophy and history. Through this analysis it will be established that the structure of property within the civil law tradition has created a legal fragmentation of the land, focused on its utilities, in order to enable human beings to derive as much as technically possible from it.