This study investigates the exports , deposition rates and budgets of particulate carbon and nitrogen in the Gaoping river-sea system. Concentrations of dissolved materials in the Gaoping River ( GPR ) downstream were generally lower in the wet season than in the dry season due to the dilution effect of runoff. However, concentrations of particulate matters were higher in the wet season than in the dry season, arisen largely from high physical and chemical weathering rates in the wet season. Total suspended matters ( TSM ), particulate organic carbon ( POC ) and particulate nitrogen ( PN ) in the GPR existed mainly in 10-63 £gm particles during the wet season and in 3-10 £gm particles during the dry season. Particulate inorganic carbon ( PIC ), however, was associated with different particle sizes and its pattern was no significant difference between dry and wet seasons. The GPR carried about 1.88 ¡Ñ 1010 mol C yr-1 POC, 1.04 ¡Ñ 1010 mol C yr-1 PIC and 1.07 ¡Ñ 109 mol N yr-1 PN into the Gaoping coastal sea during the study period. The total particulate carbon was approximately consisted of 64 % POC and 36 % PIC. Distributions of particle sizes in Gaoping coastal sediments were largely < 63 £gm as fine particles were generally carried by the coastal current, wave, tide and deposited on places away from the coastal line. The mean burial flux was 2.25 mg cm-2 yr-1 for particulate carbon ( PC ) and 0.27 mg cm-2 yr-1 for PN, equivalent to 5.7 ¡Ñ109 mol C yr-1 ( 6.84 ¡Ñ104 ton C yr-1 ) for PC and 1.0 ¡Ñ 108 mol N yr-1 ( 1.41 ¡Ñ 103 ton N yr-1 ) for PN in the study area. The buried PC was consisted of 58 % POC and 42 % PIC. The geochemical features of core sediments in the Gaoping Submarine Canyon ( GPSC ) show that the sedimentation was not steady in places near the canyon head affected obviously by extreme events and those cores were not used for determining sedimentation rates. In addition to GPSC, the shelf on the northern side of GPSC was apparently prominent in receiving river borne sediments. The southern shelf sediment of GPSC, however, was significantly influenced by Liuchiu Islet and showed relatively high concentrations of PIC. In general, concentrations of particulate organic matters ( POM ) in sediments decreased as the core depth increased, but dissolved organic matters ( DOM ) and dissolved inorganic matters ( DIM ) in pore water increased as the core depth increased. The contents of clay, POM and POC/PN in sediments and concentrations of dissolved organic and inorganic carbon in pore water increased as the distance of sampling station increased from the coastal line. The burial efficiency ( BE ) of carbon and nitrogen was estimated from the burial fluxes of particulate matters in core sediments and the diffusion fluxes of dissolved materials across the sediment-water interface. The BE of carbon and nitrogen ranged from 50 % to 85 % ( ave. 84 % ) and from 30 % to 95 % ( ave. 45 % ), respectively in the Gaoping coastal sea. The deposited carbon and nitrogen account for only 23.4 % total PC and 20 % total PN derived from the river loads or 3.6 % total PC and 0.9 % total PN derived from the river loads and the net ecosystem production ( NEP ). The results imply that most particulate carbon and nitrogen derived either from the Gaoping River or NEP may be partly recycled in the water column or largely moved off the study area to the deeper ocean.

The poems of the Old French Cycle des Narbonnais are highly concerned with touch, paying close attention to who touches whom first in greetings, who is authorised to perform certain symbolic touches and, reading violence as a radical version of touch, whose touch is victorious in battle. Modern sociologists suggest that touching follows lines of social prestige; however, by employing a performative approach to identity, overlaid with a psychoanalytic interpretation of the subject’s relationship with the Other, I argue that regulated patterns of touch in the poems iterate and maintain heroic identity. Of course, an identity forged in this way is problematic, for touch both creates and erases the difference upon which performative identity depends, and I argue that violence erupts as a result of this paradox. By thus linking touch, violence and identity, I ask questions about the nature of violence itself, making this a relevant study in a world that is getting out of touch, yet is riven by violent conflict. I demonstrate that within the community of knights with which the poems concern themselves, there is a shared language of touch that creates bonds between those men, excluding those who are ineligible: women, peasants, children and Saracens. The ritualised public touch of the dubbing ceremony marks the knight’s entry into this community, and announces his willingness to kill its enemies. Now his prowess, honour and self-worth – his heroic identity – will be figured through his ability to destroy outsiders whilst remaining inviolate. His violent touching of the Other is a means to safeguard his own body against the Other’s traumatic touch, yet it also necessitates proximity with an enemy that troublingly mirrors his own values and achievements. As anxiety provoked by disintegrating subjective boundaries worsens, violence escalates and knights battle mercilessly, until as one poem describes, ‘de lor sanc cort li ruz contre val’ (‘the river of their blood ran down the valley’, Les Narbonnais, l. 3952).

This thesis examines how Brittany and Corsica are represented in the medium of bande dessinée. Both are peripheral French regions with cultural identities markedly different from that of the overarching French norm, and both have been historically subject to ridicule from the political and cultural centre. By comparing a fair selection of bandes dessinées which are either set in Brittany or Corsica or feature characters from the relevant regions, this thesis sets out to discover whether representations of Brittany and Corsica differ according to the origin of the creators of the bandes dessinées and, if so, how. To facilitate this analysis, the bandes dessinées included for study have been classified as either external representations (published by mainstream bande dessinée publishers and/or the work of creators originating from outside the two regions) or internal representations (published by local Breton or Corsican companies and/or the work of local creators). It transpires that there are clear differences between mainstream and local bande dessinée authors and illustrators with regard to their portrayal of the local culture of both ‘outlying’ regions. External representations rely on broad stereotypes and received ideas, while internal representations draw on local folklore, regional history and regional identity to create works with more local relevance. In some cases internal representations are or were clearly aimed at a local market, while others aim both at local readers and at the wider bande dessinée market. Those aimed at a wider readership have an additional function, namely that of promoting their regional cultures in French culture generally and offering an alternative to the stereotypical representations presented by larger publishers of bandes dessinées. Brittany and Corsica are examined separately, each taking up roughly half of the thesis. Each half has the same general structure, beginning with discussion of how historical events have shaped perceptions of Brittany and Corsica in French popular consciousness, followed by analysis of the respective external representations and lastly internal representations. There are also two case studies of representations of Corsica in wider visual culture. Owing to its widespread appeal, its adaptability and its capacity to reflect popular opinion in different sectors of society, the medium of bande dessinée offers a potentially rich field for the investigation of social and cultural attitudes and prejudices. It is hoped that this thesis points the way to further research on the topic.

The purpose of this study is to explore literary representations of the human subject in the work of Alain Robbe-Grillet (1922–2008) and Marguerite Duras (1914–1996), and to do so using a modified, updated version of Peter Brooks’s influential theorization of plot in terms of desire. Both ‘subject’ and ‘representation’ will receive critical attention; in particular, the relation of ‘subject’ to ‘character’ will be explored. Post-Cartesian traditions tend to ground definitions of the subject in particular concepts of its relation to knowledge. As far as Descartes’s shadow extends, the individual is seen as coherent, self-aware and exercising freedom of choice. Throughout the nineteenth century, theories of social and medical determinism reflected in Realism and Naturalism posed new challenges to the belief that individuals are self-determining; but whilst they eroded certain assumptions concerning subjecthood in this way, they did not pose radical questions concerning the ability of art accurately to represent the relation of the individual to the (social) world. The assumptions underlying the writing of novels remained rooted in a concept of literature as mimesis. The classic nineteenth-century realist novel aspired to offer a plausible representation or imitation of the real world and, in spite of subsequent radical movements including the nouveau roman, it has left an enduring legacy. The 1950s and 1960s were a time of self-conscious experimentation with the novel: when Robbe-Grillet, Duras and others were writing their most celebrated works, the anti-realist novel – the nouveau roman – with its radical break from conventionally mimetic storytelling was only just beginning to develop a set of conventions and descriptions. Roland Barthes confidently proclaimed the ‘death of the author’ and celebrated the ‘birth of the reader’. During and after the nouveau roman movement, Robbe-Grillet and Duras attempt very different writing experiments, but there are clear parallels to be made. In Pour un nouveau roman, Robbe-Grillet initially presents his work as breaking with realism and mimesis, and ultimately concerned with (self-reflexive) ‘écriture’ alone. Accordingly, he claims that his works cannot be read in terms of their ‘representation’ of the world, or related to conventional notions of character; he seems to distance himself, in particular, from readings that assume a coherent, analysable ‘psychology’ in the (post-Cartesian) character. Similarly, Duras has often been assimilated with the nouveau roman movement, as she is held to write experimentally from the early 1950s in ways that subvert and challenge the traditional, male-authored novels of the literary canon as it was constituted in mid-twentieth-century France. Indeed, she has been held up as a rare example of écriture féminine. Peter Brooks’s argument that plot is driven (as if) by desire is a valid and exciting one that allows narratology and psychoanalysis to be brought into conjunction. But the desire he invokes is (stereotypically) ‘masculine’, being the desire of a male subject for a (passive) female object; and he allows this ‘plot of desire’, which might be termed ‘desire in the masculine’, a normative status. Using close readings of Robbe-Grillet and Duras, this thesis modifies Brooks’s thesis by asking what a plot of ‘female’ desire might be, besides a softened or more passive version of the ‘male’ plot. This allows us to reassess each writer’s break with traditional notions of representation and subject by reviewing their writing practice in terms of desire. In spite of his claims in Pour un nouveau roman, Robbe-Grillet clings tenaciously to a ‘masculine’ plot throughout his writing; and whilst Duras initially deploys a similar structure, she increasingly problematises it, though without breaking from it altogether, and so offers possibilities for representing desire ‘in the feminine’.

This thesis addresses, amongst other issues, the phenomenon of the professional development and teacher training of the University Portuguese language teachers in England. Nowadays society needs a new profile of teacher who is capable of facing various challenges. These are essentially related to technologies and new knowledge, according to the European Higher Education Area. Therefore, the focus of our study is directed to the training of the University Portuguese Language Teachers at the English universities, in particular at the University of Nottingham (developing a case study) in order to contribute for a reflection of their needs of training and preparation for their job. We also seek for the students’ opinion on this subject and we try to understand the context of a society clearly dominated by a culture of monolonguism and resistence to the learning of foreign languages. For this reason, and because the number of investigations on the subject is scarce, this is a contribution to reflect on the main aspects to take into consideration in the preparation of training for this specific professionals.

This paper proposes to approach the representation of the House of Fame with a close re-reading and a synthesis of previous historiography and literary theory in an attempt to address the problem of representation and ‘story-telling’ within the description of the Gothic edifice. How does Chaucer tell the story of “Gothic,” how does he represent a Gothic image? Regardless of the precedent and source for Chaucer’s description of the House of Fame, the important feature of the image is the representation of the Gothic edifice in words, which requires elaborate metaphors and capturing the Gothic structure as a mnemonic image. I would like to specifically engage how Chaucer works to describe and represent Gothic architecture in words. I will argue that the failure of language and a common literary trope known as the ‘inexpressibility topos’ figure prominently in Chaucer’s description; that Chaucer posits himself into the ‘role of the interlocutor’ to give the architectural edifice meaning and ultimately presents an invitation for interpretation.

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International Telemetering Conference Proceedings / October 25-28, 1993 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Until the early 80's, telemetry processing systems were commonly run on mainframe or mini computers running proprietary operating systems and software with limited portability. The advent of the 'low-cost' workstation reduced the hardware cost but the software still remained relatively expensive and relatively mission specific. The workstation itself, although comparatively cheap, was not, and is still not, an everyday piece of computing hardware Telemetry Processing software has been developed by Micro SciTech to meet both low-cost hardware requirements and mission independence. It runs on networked IBM PC compatible computers and can be re-configured and used for many different missions and experiments without the need for extensive software rewrites.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

No description available.