Dans ces travaux, nous nous intéressons à l'estimation et l'étude des intervalles cardiaques. L'objectif principal de cette thèse est donc de développer de nouveaux outils d'estimation de ces intervalles. Plus précisément, nous souhaitons concevoir de nouvelles techniques de traitement du signal pour extraire des ECG les intervalles P-R, qui sont très peu étudiés dans la littérature de part la difficulté d'extraire les ondes P, et dans un second temps les intervalles Q-T. Inspirés de la méthode itérative de Woody (1967) basée sur une technique de corrélation de chaque observation avec une moyenne des signaux réalignés, nous proposons tout d'abord un perfectionnement de cette méthode. En effet, à partir du même modèle d'observations, nous développons le critère de maximum de vraisemblance et nous obtenons une amélioration de la méthode de Woody au sens de l'optimalité. Le modèle d'observations de cette méthode est ensuite enrichi par une onde potentiellement parasite additionnée au bruit, et une généralisation de la méthode de Woody est proposée. En prenant l'exemple de l'onde T de l'ECG qui se superpose à l'onde P du battement suivant lorsque la fréquence cardiaque est élevée, différents modèles de l'onde T sont proposés. Grâce à ces deux méthodes proposées, les objectifs d'estimer et d'analyser les intervalles cardiaques, tels que les intervalles R-R, Q-T et P-R, sont atteints. Plus précisément, grâce à la généralisation de Woody, l'estimation des intervalles P-R à l'exercice est réalisable. L'application de ces méthodes aux enregistrements réels de différents types d'ECG (repos, exercice, fibrillation auriculaire,...), nous a révélé de nouveaux résultats concernant l'évolution des intervalles cardiaques, comme par exemple : l'existence d'un phénomène d'hystérésis en sens horaire dans la relation P-R/R-R, et une caractérisation possible des sujets en fonction de leur niveau d'entraînement à l'aide de la pente des intervalles P-R au début de la phase de récupération. Une modélisation de la réponse du Q-T à un changement de la période cardiaque a également été proposée s'inspirant du comportement électrique cellulaire.

Plusieurs études ont rapporté l’influence de la pression d’hydrogène, plus précisément la concentration réelle en hydrogène dissous dans le milieu réactionnel, sur l’énantiosélectivité des réactions d’hydrogénations catalytiques intervenant des catalyseurs à base de rhodium. Cependant, l’identification de l’étape ou les étapes enantiodéterminantes ou limitantes ainsi que l’explication de l’effet de la pression d’hydrogène sur cet étape, exigent la détermination des constantes cinétiques de chaque étape élémentaire. Ce projet de recherche vise une telle détermination en combinant deux études expérimentale et théorique. Dans un premier temps, un système catalytique présentant deux effets opposés de la pression de l’hydrogène en fonction de la nature du substrat, a été identifié : un effet néfaste avec le M-acrylate (MAA) et un effet bénéfique avec l’E-emap. Ensuite, deux études ont été menées sur les réactions d’hydrogénation de ces deux substrats par le Rh(I) /(R,R)-Me-BPE. L’étude cinétique expérimentale est basée sur le modèle cinétique proposé par Halpern dans le but d’estimer les paramètres cinétiques des différentes étapes élémentaires, alors que celle théorique consiste à étudier les différents chemins réactionnels possibles par calcul DFT en utilisant le logiciel de modélisation Gaussian 03. L’exploitation des résultats obtenus a permis de revisiter les concepts clés de la catalyse d’hydrogénation asymétrique et de mener une discussion par rapport à la fiabilité des méthodes théoriques à prévoir l’expérience. / Several studies brought back the influence of the hydrogen pressure, more precisely the real hydrogen concentration dissolved in solution, on the enantioselectivity of the catalytic asymmetric hydrogenation for rhodium based catalysts. However to identify the enantiodetermining step(s), and to gain some further understanding on the hydrogen pressure-enantioselectivity relationship, the determination of the kinetic constants is required. We have thus embarked a project aiming such determination by coupling experimental work and theoretical chemistry. Two studies were undertaken on the asymmetric hydrogenation of both substrates by the Rh (I)/ (R,R)-Me-bpe catalyst. The experimental kinetic work study is based on the kinetic model suggested by Halpern in order to estimate the parameters kinetic of each elementary step, whereas that theoretical, consists in studying the various possible pathways by DFT calculation using the software of modelling Gaussian 03. The analysis of the obtained results made it possible to revisit the concepts’ key of the catalytic asymmetric hydrogenation and to hold a discussion about the reliability of the theoretical methods to envisage the experiment.

This master's thesis deals with the influence of The Kalevala and the Finnish language on the English writer John Ronald Reuel Tolkien and his work. The main purpose is to provide a possibly most complex description of The Kalevala's influence on Tolkien. Firstly, the background of The Kalevala, the role of Elias Lönnrot during its birth and its importance, and secondly, Tolkien, his work and his discovery of The Kalevala are introduced. The main part of the thesis focuses on Tolkien's inspiration by The Kalevala out of three different perspectives. The first one is the influence of the Finnish language on Quenya, one of Tolkien's fictional languages. The second one is The Kalevala's importance for Tolkien from a general point of view - especially the influence of Lönnrot's role, The Kalevala's mythology, several abstract aspects of The Kalevala led by the importance of singing and The Kalevala's structure is crucial. The third one is Tolkien's inspiration by The Kalevala from a concrete point of view. Particularly the importance of The Kalevala's character Väinämöinen and the story of the Sampo is significant here.

In "On Fairy Stories" J.R.R. Tolkien writes that joy is the "mark of the true fairy- story." Tolkien believed that joy was the defining characteristic of the genre. This joy is not just apparent in the happy ending of the fairy tale, but also in the manner in which the plot and characters show theories of joy, and the way the text itself creates joy in the reader. This paper will explore Tolkien's creation of brightness, hope, and wonder, and how these instances express a theory of joy. First I will look at the different types of joy in Tolkien's work, then the more general theories that these types express, and finally the effect the joy in the story has on the reader. / by Natasha Minnerly. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

《魔戒》（The Lord of the Rings）是現代奇幻小說的代表作品，由英國語文學家、牛津大學教授托爾金創作，自二十世紀五十年代中期分三卷出版後，帶動了奇幻小說此一文學類型在英美的興起。現在流行的奇幻小說，不少仿照了托爾金《魔戒》的架構和寫法。 / 現代奇幻小說核心概念之一，是要建構一個令讀者信任的“架空世界。小說家為了創造這種獨立存在的想像世界，各出奇謀，手法不一。托爾金塑造架空世界的技巧，很大程度上來自他愛好並從事研究的領域--語言及其歷史發展。在《魔戒》的架空世界中，托爾金刻意經營了一個獨特的語言系統，本研究稱之為“奇幻語言。這個系統至少涵蓋古語、新創語和命名系統三個層面：古語隱含“中土大地 種族發展的歷史；新創語映現了種族不同而語言各殊的現象；命名系統則是前兩者的集中呈現。三者互有關聯，其相互作用加強了架空世界的内部邏輯。 / 本研究擬從奇幻語言這三個層面入手，結合中國語言及文學的特色，分析四個《魔戒》中譯本的處理手法，藉此探討不同中譯本分別呈現出來的《魔戒》面貌，以及譯文衍生的變異狀況。本研究的分析指出，架空世界的成功變形與再生，有賴譯者對作者奇幻構想的整全掌握，並在譯文中重建一套與作者奇幻構思契合、而又自洽自足的內部邏輯。 / The Lord of the Rings (LOTR) by John Ronald Reuel Tolkien (1892-1973) marked the birth of modern fantasy fiction as a genre when it was published in three volumes in the 1950s. The structure and writing techniques of LOTR have been imitated by many fantasy novels since then. / Constructing a trustworthy “Secondary World is one of the most important aims of modern fantasy novels. To reach that goal, novelists employ various methods to create such an independent existence. Tolkien’s techniques in building his Secondary World come largely from Philology, his specialized research area which studies the histories of, and relationships between, languages. An ingenious language system, named in this thesis as “fantastic language, is designed and embedded into the story of LOTR by Tolkien. It covers at least three aspects, namely archaism, invented languages and nomenclature. Archaism indicates and suggests a long history behind the Middle-earth; invented languages show how languages differ among various races; nomenclature is the intersection of the former two aspects. The interaction between the three aspects of the fantastic language enhances the inner logic of the Secondary World, making it appear to be more consistent and real. / This thesis will analyze and discuss different representations of Tolkien’s Secondary World by exploring four Chinese translations of fantastic language in LOTR with reference to specific features of Chinese language and literature. This thesis points out that the successful transformation and re-creation of a Secondary World depends on a thorough understanding of the author’s imagination, and a re-construction of a self-consistent logic compatible with the author’s design. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 張甜. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 194-211). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Tian. / 摘要 --- p.ii / Chapter 第一章 --- 緒論 --- p.5 / Chapter 一、 --- 研究對象 --- p.5 / Chapter 二、 --- 各章簡介 --- p.9 / Chapter 三、 --- 文獻回顧 --- p.10 / Chapter 四、 --- 研究價值和方法 --- p.15 / Chapter 第二章 --- 奇幻文學發展和特點 --- p.17 / Chapter 一、 --- 奇幻的範圍 --- p.17 / Chapter 1.1. --- 奇幻文學：廣義與狹義 --- p.19 / Chapter 1.2. --- 以“文學類型界定奇幻文學 --- p.21 / Chapter 二、 --- 奇幻創作理論基礎 --- p.29 / Chapter 2.1. --- “架空世界誕生宣言 --- p.29 / Chapter 2.2. --- 令人信服的驚奇感 --- p.30 / Chapter 2.3. --- 從《哈比人》到《魔戒》 --- p.32 / Chapter 2.4. --- 《魔戒》的奇幻技巧 --- p.34 / Chapter 第三章 --- 《魔戒》架空世界和語言的關係 --- p.36 / Chapter 一、 --- 《魔戒》與語言 --- p.36 / Chapter 二、 --- 托爾金的語言世界 --- p.37 / Chapter 2.1. --- 對語音的敏感認知 --- p.37 / Chapter 2.2. --- 對古老語言的愛好 --- p.38 / Chapter 2.3. --- 從欣賞語言到新創語言 --- p.40 / Chapter 2.4. --- 從感性探索到科學研究 --- p.41 / Chapter 三、 --- 托爾金的文學世界 --- p.42 / Chapter 3.1. --- 民間故事研究熱潮 --- p.42 / Chapter 3.2. --- 文學團體互動啓發 --- p.45 / Chapter 四、 --- 三個奇幻世界與兩次語言轉變 --- p.46 / Chapter 4.1. --- 世界一的奇幻圖景 --- p.47 / Chapter 4.2. --- 偽譯以及世界二 --- p.50 / Chapter 4.2.1. --- 溝通世界一與世界二的橋樑：偽譯 --- p.50 / Chapter 4.2.2. --- 世界二的語言結構 --- p.51 / Chapter 4.2.3. --- 世界一到世界二的變形 --- p.52 / Chapter 4.2.4. --- 奇幻語言之三個層面：互動及比重 --- p.55 / Chapter 4.3. --- 中譯以及世界三 --- p.56 / Chapter 第四章 --- 《魔戒》古語之中譯 --- p.59 / Chapter 一、 --- 奇幻小說中的古語 --- p.59 / Chapter 1.1. --- 古語的定義 --- p.59 / Chapter 1.2. --- 古語的流行與誤區 --- p.60 / Chapter 二、 --- 《魔戒》古語及其中譯 --- p.60 / Chapter 2.1. --- 《魔戒》古語中譯之困難 --- p.61 / Chapter 2.2. --- 古老的詞彙 --- p.62 / Chapter 2.3. --- 古老的語法 --- p.67 / Chapter 2.3.1. --- 詞形變化 --- p.67 / Chapter 2.3.2. --- 前置句式 --- p.68 / Chapter 2.3.3. --- 分句關係 --- p.70 / Chapter 2.4. --- 古老的寫作技巧 --- p.71 / Chapter 2.4.1. --- 套語 --- p.71 / Chapter 2.4.2. --- 詩文結合 --- p.73 / Chapter 2.4.2.1. --- 洛汗人詩歌 --- p.73 / Chapter 2.4.2.2. --- 哈比人詩歌 --- p.77 / Chapter 2.4.2.3. --- 精靈詩歌 --- p.82 / Chapter 2.4.2.4. --- 湯姆龐巴迪的詩歌 --- p.89 / Chapter 第五章 --- 《魔戒》命名系統之中譯 --- p.97 / Chapter 一、 --- 一般文學與奇幻文學的名字 --- p.97 / Chapter 1.1. --- 有意義的虛構名字 --- p.97 / Chapter 1.2. --- 奇幻小命名系統的重要性 --- p.98 / Chapter 1.3. --- 《魔戒》命名系統的獨特之處 --- p.100 / Chapter 二、 --- 《魔戒》命名系統翻譯：托爾金的觀點 --- p.100 / Chapter 2.1. --- 〈命名〉提倡的翻譯方法 --- p.101 / Chapter 2.2. --- 〈命名〉對中文譯者指導作用的局限性 --- p.103 / Chapter 三、 --- 《魔戒》命名系統中譯研究 --- p.103 / Chapter 3.1. --- 中文人地名翻譯規範 --- p.104 / Chapter 3.2. --- 哈比人名和夏爾地名 --- p.105 / Chapter 3.2.1. --- 哈比人名 --- p.105 / Chapter 3.2.1.1. --- 熟悉又陌生的哈比人名 --- p.105 / Chapter 3.2.1.2. --- 透明的哈比人姓氏 --- p.106 / Chapter 3.2.1.3. --- 不透明的哈比人姓氏 --- p.107 / Chapter 3.2.1.4. --- 不可譯元素 --- p.108 / Chapter 3.2.2. --- 夏爾地名 --- p.110 / Chapter 3.2.2.1 --- 透明的夏爾地名 --- p.110 / Chapter 3.2.2.2 --- 半透明的夏爾地名 --- p.111 / Chapter 3.2.3. --- 重要人名與地名 --- p.113 / Chapter 3.2.4. --- 夏爾人地名總結 --- p.113 / Chapter 3.3. --- 布理姓氏 --- p.114 / Chapter 3.3.1. --- 作品描述影響譯名 --- p.114 / Chapter 3.3.2. --- 出現偏差的意譯 --- p.116 / Chapter 3.3.3. --- 布理姓氏中譯總結 --- p.117 / Chapter 3.4. --- 洛汗人名、馬名和地名 --- p.117 / Chapter 3.4.1. --- 洛汗人名 --- p.118 / Chapter 3.4.2. --- 洛汗馬名 --- p.119 / Chapter 3.4.3. --- 洛汗地名 --- p.121 / Chapter 3.4.4. --- 洛汗命名系統中譯總結 --- p.122 / Chapter 3.5. --- 新創語人名和地名 --- p.122 / Chapter 第六章 --- 《魔戒》新創語之中譯 --- p.124 / Chapter 一、 --- 多語文本之中譯 --- p.124 / Chapter 二、 --- 《魔戒》裡的新創語 --- p.126 / Chapter 2.1. --- 新創語的地位 --- p.126 / Chapter 2.2. --- 《魔戒》新創語分類 --- p.127 / Chapter 三、 --- 《魔戒》新創語之中譯 --- p.128 / Chapter 3.1. --- 圖片形式的新創語翻譯 --- p.128 / Chapter 3.2. --- 文字形式的新創語翻譯 --- p.133 / Chapter 3.2.1. --- 篇幅較長的新創語翻譯 --- p.133 / Chapter 3.2.2 --- 新創語詞彙片語之翻譯 --- p.136 / Chapter 3.2.2.1. --- 《魔戒》洛汗語和矮人語翻譯 --- p.137 / Chapter 3.2.2.2. --- 《魔戒》樹人語、半獸人語和黑話翻譯 --- p.139 / Chapter 3.2.2.3. --- 《魔戒》精靈語翻譯 --- p.142 / Chapter 第七章 --- 結論 --- p.147 / Chapter 附錄一 --- 中英譯名對照 --- p.154 / Chapter 附錄二 --- 《魔戒》種族人名地名中譯表 --- p.156 / Chapter 附錄三 --- 《魔戒》命名系統指南 --- p.168 / 参考書目 --- p.194

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[pt] A Cartografia propicia, através de seus produtos, o estabelecimento de uma capacidade reflexiva sobre a dimensão espacial de um dado recorte. Corrobora para que diversas análises espaciais sejam elaboradas retratando processos, fenômenos e padrões da superfície terrestre. Apesar desta capacidade, ao longo do tempo, a ciência cartográfica foi submetida à primazia do positivismo lógico, desconsiderando aspectos imateriais e que transcendem aquilo que é observável, desvalorizando a dimensão do imaginário e das realidades passíveis de serem representadas, relegando-as à condição de devaneio e de irrealidade. Contrariamente, esta perspectiva assume centralidade quando dialogada com a arte. Como exemplo cita-se a literatura fantástica, que opera na relação direta entre a ficção e a realidade, fazendo-se utilizar, em muitos casos, de mapas (entre outras representações) visando à espacialização dos universos onde as narrativas se desenrolam. A cartografia subsidia e é subsidiada pelo imaginário, promovendo a representação espacial destes universos imateriais. Assim, buscar-se-á entender como a Cartografia Fantástica representada no universo imaginado de J. R. R. Tolkien contribui para a compreensão das relações geográficas existentes no imaginário do autor. Para tal fim, torna-se necessário que se visitem as fundações criacionais do universo imaginado, percorrendo-se por significados e simbolismos expressos a partir de acontecimentos vivenciados e que perfazem a construção de paisagens fantásticas. Como consequência, tomam-se rebatimentos interpretativos que alçam a realidade dada a múltiplas possibilidades. A cartografação e a construção de uma ardo grafia são fruto deste mesmo processo. Estabelece-se como resultante de interpretações forjadas a partir da recepção, decodificação e transformação das informações transmitidas por Tolkien e que são moldadas a partir de um background histórico, cultural e cognitivo daquele que a concebe. / [en] Cartography provides, through its products, the establishment of a reflective capacity on the spatial dimension of a given area. It corroborates that several spatial analyzes are elaborated portraying processes, phenomena and patterns of the Earth s surface. Despite this ability, over time, cartographic science has been subjected to the primacy of logical positivism, disregarding immaterial aspects and transcending what is observable, devaluing the dimension of the imaginary and the realities that can be represented, relegating them to the condition of reverie and unreality. In contrast, this perspective assumes centrality when dialogued with art. As an example fantastic literature is mentioned, which operates in the direct relationship between fiction and reality, making use, in many cases, of maps (among other representations) aiming at the spatialization of the universes where the narratives unfold. Cartography subsidizes and is subsidized by the imaginary, promoting the spatial representation of these immaterial universes. Thus, we will try to understand how the Fantastic Cartography represented in the imagined universe of J. R. R. Tolkien contributes to the understanding of the geographical relations existing in the author s imagination. For that purpose, it is necessary to visit the creational foundations of the imagined universe, going trough meanings and symbolisms expressed from experienced events that make up the construction of fantastic landscapes. As a consequence, interpretative repercussions that raise a reality given to multiple possibilities. The mapping and construction of an ardo graphy are the result of this same process. It is established as a result of interpretations forged from the reception, decoding and transformation of the information transmitted by Tolkien and which are shaped from a historical, cultural and cognitive background of the person who conceives it.

Tolkien may not have intentionally created his fictive nations to mirror real nations, but his world certainly bears the scars of his experiences of war. The World Wars heightened his fear of losing everything that he loved about his local culture through literal obliteration or assimilation into another culture in the event of England’s losing. Tolkien saw the nation as a social construct that potentially could minimize losses, if not wholly protect local culture from the forces that threatened to destroy it. Yet he also perceived the nation’s limitations in its ability to protect culture. A nation could grow too large for itself, becoming obsessed with consuming other nations. For Tolkien, national property-amassing leads to a loss of the cultural identity that nationhood aims to preserve. When the forces threatening individual nations become overwhelming, those nations often need to join forces to prevent being taken over by other, more powerful countries. An examination of Tolkien’s fiction and numerous other sources, including essays and personal letters, suggests that he felt that separate nations should co-exist without imposing on one another, and that the nation taking over others would lose its own identity, whether gradually or suddenly. Despite Tolkien’s efforts to distance himself from what he felt modernity represented, his fiction (whether consciously or not) grapples with the mid-twentieth century ideological conflicts surrounding the nation. The resulting sense of loss and powerlessness underlies much of Tolkien’s fiction and leads him to a concept of the nation as an imperfect protector of culture, tempered by its need to rely on other nations.

Tolkien's aesthetic enjoyment of distance and antiquity in literature, his interest in the power of imagination, and his use of medieval romances and ancient fairy-tales as a means of rediscovering an enchanted vision of the world are analogous to the literary endeavours of the Romantics. Like them, he perceives that the real world is inherently different from how he imagines an ideal world. This thesis discovers that Tolkien's writings correspond in numerous ways to the modern form of elegiac romance, most notably because of their positive portrayals of mortality, and their depictions of intense yearning. The moral imperative to accept death, exemplified by the heroic ethos of Old English literature, clarifies why the effect of historicity is often noted in Tolkien's fictions: time is mimetic rather than mythological. Tolkien demonstrates that Fantasy is capable of reflecting the most sombre issues of the real world, particularly the inevitability of death.