Les dinoflagellés sont des eucaryotes unicellulaires qui composent une grande partie du phytoplancton et qui jouent un rôle important au niveau de la photosynthèse, de la production primaire et de la conservation des écosystèmes marins. Les dinoflagellés se distinguent des autres eucaryotes par leur biologie et leur organisation nucléaire unique. Lors de la mitose, leur membrane nucléaire demeure intacte et la ségrégation des chromosomes se fait à partir de fuseaux mitotiques formés dans le cytoplasme et qui traversent le noyau au travers de canaux spécialisés Aussi, leurs chromosomes sont condensés en permanence et le processus utilisé pour y arriver est encore très mal compris puisque les dinoflagellés ne possèdent aucunes histones détectables. Lingulodinium polyedrum est un dinoflagellé photosynthétique marin utilisé comme organisme modèle en ce qui concerne l’étude des rythmes circadiens (bioluminescence, migration verticale, mitose et photosynthèse). La découverte et l’étude des éléments régulateurs du cycle cellulaire peuvent nous amener à comprendre le mécanisme, l’influence et la portée du contrôle circadien sur le cycle cellulaire. De plus, l’étude du cycle cellulaire pourrait permettre de révéler des indices quant aux caractéristiques singulières des dinoflagellés qui sont pour le moment énigmatiques. Par le passé, une étude chez Lingulodinium polyedrum a permis d’identifier la cycline impliquée dans la mitose, LpCyc1, le premier régulateur du cycle cellulaire a être découvert chez les dinoflagellés. La présente étude s’attarde sur la caractérisation de la LpCyc1, soit son expression, sa localisation, sa phosphorylation. Ces trois éléments concordent de façon à synchroniser l’activité de la LpCyc1 (et ainsi la mitose) de façon circadienne. Cette étude présente aussi la création et le développement d’un outil majeur pour l’étude future de Lingulodinium polyedrum, le transcriptome des ARNm à partir d’un iv séquençage Illumina. C’est d’ailleurs avec cet outil que nous avons découvert la CDK responsable du contrôle de la phase M, LpCdk1. Cette CDK possède tous les domaines d’une CDK classique, un site de liaison des substrats, un site de liaison à l’ATP, une boucle activatrice, et une interface de liaison avec la cycline. Le transcriptome de Lingulodinium polyedrum a aussi permis de recenser toutes les protéines conservées normalement retrouvées dans le contrôle du cycle cellulaire, qui nous a permis de faire une ébauche préliminaire du cycle cellulaire de L. polyedrum. Cette analyse est une première chez Lingulodinium polyedrum et peut s’étendre pour l’étude d’une multitude d’autres processus métaboliques. / Dinoflagellates are unicellular eukaryotes that constitute a large part of the phytoplankton. They are major contributors to the global photosynthesis and primary production and they possess an important role in conservation of marine ecosystems. Dinoflagellates are distincted from other eukaryotes by their unique biology and nuclear organization. During mitosis, their nuclear envelope stays intact and chromosome segregation is done by a mitotic spindle that passed through the nucleus inside several specialized cytoplasmic channels. In addition, the chromosomes are permanently condensed and are not thought to have histones. Lingulodinium polyedrum is a marine photosynthetic dinoflagellate widely used to study the control mechanisms of circadian rhythms, because many aspects of its physiology (bioluminescence, mitosis, photosynthesis and vertical migration) are circadian. The discovery of cell cycle regulators is essential for understanding the mechanism and the circadian control over the cell cycle. A previously study identified the M-phase cyclin, LpCyc1, the first dinoflagellate cell cycle regulator to be discovered. The present study presents the characterization of the LpCyc1, with respect to expression levels and phosphorylation patterns. These elements act together to ensure the synchronization of the LpCyc1 activity (and the mitosis) within the day. This study also presents the creation and the development of the transcriptome, a major tool for the upcoming studies of Lingulodinium polyedrum. With this tool, we identified the Lingulodinium polyedrum M-CDK, LpCdk1. The LpCdk1 has all the domains of a classic M-CDK, a substrate binding site, an ATP binding site, an activation loop and a cyclin binding interface. vi With the Lingulodinium polyedrum transcriptome, we also made a census of all the conserved proteins normally found in the cell cycle control of yeast. The identification of these proteins had provided a rough shape of L. polyedrum cell cycle. This kind of analysis is the first to be made with Lingulodinium polyedrum and could be expanded to other metabolic processes.

En composant avec l’Enquête la première grande œuvre en prose de la littérature grecque, Hérodote marque un moment crucial de l’histoire des formes littéraires : il donne à la prose grecque ses lettres de noblesse, tout en se situant dans un rapport de filiation, sinon d’émulation, vis-à-vis de l’héritage poétique. L’auteur du traité Du Sublime ne le qualifie-t-il pas d’homêrikôtatos, tandis qu’Hermogène de Tarse évoque sa langue et son style comme étant des plus poétiques ? Il s’agit alors de comprendre comment cette prose, reconnue dès longtemps comme une prose d’art, se nourrit des éléments et procédés qui caractérisent la langue d’Homère et celle des poètes grecs : éléments phonétiques, morphologiques, syntaxiques, rythmiques, formulaires, lexicaux et compositionnels, convergeant en une esthétique de la poikilia et assurant à l’œuvre d’Hérodote, du point de vue des techniques d’écriture, une dimension proprement poétique. / Having created the first great work of prose in Greek literature, Herodotus stands at a momentous point in the history of literary forms : he ennobles Greek prose, not only as a continuator, but also as an emulator of the poetic heritage. Indeed the author of the Peri Hupsous calls him homêrikôtatos, and the rhetor Hermogenes describes his language and style as most poetic. We shall try to understand how such a prose, long acknowledged as Kunstprosa, is imbued with features and processes that characterize the language of Homer as well as Greek poetry, in the fields of phonetics, morphology, syntax, rhythms, formulae, lexicon and composition, converging towards an aesthetics of poikilia and endowing Herodotus’ work, as regards writing techniques, with a proper poetical dimension.

Jag har länge tyckt att soundet från en stråke är häftigt. Det finns inspelningar med jazzstråk, men det är inte jättevanligt och jag undrade varför. Är det för att det finns för många svårigheter att hantera med stråken? Eller var det kanske så att det fanns massor med möjligheter som inte många tog vara på? Syftet i mitt arbete har varit att ta reda på vad det finns för möjligheter och svårigheter med att spela stråke på kontrabas i jazzmusik. I arbetsprocessen har jag valt ut låtar och spelat in dessa låtar med ett band bestående av trummor, el-gitarr, tenor saxofon och viola. Sedan har jag skickat låtarna till verksamma stråkbassister så att de kan kommentera och ge tips. Utifrån kommentarerna, tipsen och min egna analys av låtarna har jag gjort övningar som har gjort att jag på bättre sätt har kunnat ta vara på möjligheterna och hantera svårigheterna. De tankar jag hade i början av arbetet angående vad som skulle vara möjligheterna med stråken och vad som skulle vara svårigheterna har visat sig i vissa fall inte stämma alls, i vissa fall stämma delvis och i vissa fall stämde de helt. Ett exempel är att jag tänkte i början av arbetet att få till bra rytmer skulle vara en svårighet, dock visade sig rytmer även vara en möjlighet då man kan ha större rytmisk variation med stråken än med fingrarna eftersom man kan hålla ut en ton längre med stråken. / For a long time I have been thinking that the sound of a bowed tone is cool. There are recordings of music with jazz bowing, but it is not very common and I wondered why. Is it because there are too many difficulties with bowplaying? Or are there a lot of opportunities that only a few bass players take advantage of? The aim of my thesis is to figure out what the difficulties and the opportunities with bow playing on the double bass are in jazz music.  In my research process I have chosen a couple of songs, rehearsed and recorded them with a band including drums, guitar, tenor saxophone and viola. After each recording session, I sended the recordings to a couple of active bow playing bass musicians, which answered with comments and advices.  Based on the advices and my own analysis of the songs, I did exercises that taught me how to handle the difficulties and how to fully use the opportunities with bow playing in jazz music.  In the beginning of the project I had some thoughts about what the opportunities and difficulties would be. Some of the thoughts came out to be, in some cases incorrect, in some cases partly correct and in some cases fully correct.  An example is that, beginning my research I thought that playing rhythms with a bow would be difficult, but as it turned out, playing rhythms could also be an opportunity. I then could use more versatile rhythms than with my finger, since the bow allows me to hold a tone for a longer time.

Šťástka, J. (2010): Time-space mobility of students in Prague. Diploma thesis, Charles University in Prague, Faculty of Science, Department of Social Geography and Regional Development, Prague. Diploma thesis deals with evaluation of time-space mobility of students in selected Prague's high schools. In introduction, research questions searching for differences in daily motions, non-daily motions of students and way of spending leisure time in a city are asked. Furthermore, this thesis is aimed at discussion of time-space mobility within Czech and foreign literature and approach to study of everyday-life. The main objective of this diploma thesis is to analyze everyday mobility of students in Prague and to document their correlation on the basis of data from questionary survey. key words: time-space mobility, everyday rythm, lifestyle, commuting, suburbanization, leisure time, students, Prague.

Anish Kapoor affirme le caractère spirituel de ses œuvres, un terme qu’il distingue du religieux et du sacré. Quelle est la nature de cette spiritualité ? Il s’agit de retrouver l’union avec « la Totalité », union proto-culturelle qui serait perdue par l’emprise du matériel. S’agit-il d’un retour au « primitivisme dans l’art » à la manière de Paul Gauguin et Barnett Newman ? Cette démarche est-elle influencée par l’héritage hindouiste de Kapoor, ou bien tient-elle, comme il l’affirme, à la fonction hypostatique universelle de la couleur qu’il désigne comme « alchimique »? Comment ce caractère spirituel est-il perçu par le spectateur occidental ignorant des diverses influences culturelles qui traversent l’œuvre ? L’œuvre porte-elle les marqueurs du spirituel par ses formes et ses couleurs ? Ce mémoire étudie d’abord les diverses influences qui nourrissent et permettent de comprendre l’expérience des œuvres de Kapoor. Il s’attache ensuite à décrypter les mécanismes phénoménologiques, neurologiques et psychologiques qui permettent à ces marqueurs de fonctionner dans le contexte du musée ou de la galerie d’art moderne. / Anish Kapoor asserts the spiritual quality of his work. By spiritual he means not the religious or the sacred but the possibility to be reunited with a « Totality », in a « proto-cultural » manner, by eschewing the material. Is this project a return to “primitivism in art” in line with Paul Gauguin and Barnett Newman? Is it influenced by the Indian heritage of Kapoor or is it based, as he claims, on the hypostatic function of colour, which gives way to a quasi alchemical experience? How is this spiritual potentiality of the work perceived by a Western audience, ignorant of Kapoor’s various spiritual endeavours? Does the work convey through its shape and colour the markers of the spiritual? This dissertation analyses the various influences that nourish Kapoor and inform his works. It then attempts to decipher the mechanisms through which those makers are efficient in conveying a sense of “spirituality” to the works within the settings of the White cube Gallery or the museum of modern art. They appear to be phenomenological, neurological and psychological.

This thesis explores the influence music has on learning a foreign language. The purpose of the thesis is to find out if rhythm and music encourage students to learn French grammar, and more precisely how to conjugate verbs. We have created a rap-style learning technique to assist in conjugating the verbs “être” (to be) and “avoir” (to have). We then taught two different lessons to each grammar in this context: one with the “rap-method” and one without rhythm, which is a more classic approach. The students, who are all beginners of the French language, come from a school in the south of Sweden. After the two lessons we conducted a comparative study where we asked the students which lesson was the best. To support our study, we present theories based upon the connection between language learning and music. The two theories are: L’Apport de la musique dans l’apprentissage d’une langue étrangère (2012) written by Camille Jedrzejak and Sensibiliser les enfants à une langue étrangère par le biais d’une activité musicale (2008) by Pamula Malgorzata. The study showed that music has a value in foreign language learning and that students learned better the materiel during the “rap-method” than during the other, more classical method. Grammar lessons are often considered as boring and the students don’t like them. Changing them into a more playful method could get them more interested to learn. The theories in action reap positive results and could be used more in language-learning than they currently are. It turned out that the “rap-method” is a good method to learn grammar.

The monographic thesis mainly solves poetry and prose of Josef Mach, the Czech writer, journalist and clerk. It watches literary progress of his poetics according to the era context, influenc of places, historical and social events and inspirations of other artists who surrounded him. The work look into the texts and lyrics by a diachronic and synchronic way. The section about his original works is followed by a chapter about translations of several novels, because he acted even on this literary field. Then the general outline of the reception of Mach's personality and works since the time of his life until today. The whole thesis is introduced by Mach's biography to which it returns in many topics because his works have an empiric character and it is closely connected to the life. The object of the thesis is to sum information about all these topics and give it as a base for future expert research.

En se focalisant méthodiquement sur l’étude de « l’imagination du mouvement» (sous-titre de l’ouvrage de 1943 intitulé L’air et les songes), la présente thèse vise avant tout à montrer qu’une véritable philosophie se déploie à travers la poétique de Gaston Bachelard.    Cette dernière articule de façon inédite, dans une perspective dynamiste, une théorie et une pratique de l’imagination dont la portée dépasse de loin le cadre d’une psychologie de la rêverie et de la création littéraire, à laquelle elle demeure trop souvent réduite : le philosophe montre en effet que les images des multiples mouvements qui animent le monde naturel (matériel, végétal, animal) ouvrent le sujet à l’expérience structurante d’une verticalité élémentaire dont le dynamisme défie et édifie sa propre verticalité psycho-physique, en l’aidant à « se tenir droit dans un univers redressé ». L’étude détaillée des images du mouvement permet ainsi de mettre au jour, au delà d’une psychologie originale, la portée ontologique, anthropologique et éthique de l’imagination bachelardienne. Cette étude passe par la mise en œuvre d’une singulière micro-phénoménologie dynamique, permettant une focalisation de l’attention sur les dimensions cognitive, kinesthésique et affective des images, à travers laquelle le « voir » en imagination (Première partie : l’image – mouvement) s’approfondit - dans une progressive incarnation - en « se mouvoir » (Seconde partie : l’image motrice) puis en « s’émouvoir » (Troisième partie : l’image émotive).Toutefois, loin d’enfermer le sujet dans une quelconque forme d’immanence psychologique, cette focalisation de l’attention intensifie sa présence au monde comme à autrui et, par là-même, engage un « agir » (Quatrième partie : l’image – acte) de part en part structuré selon le dynamisme de la verticalité.  La poétique des images de G. Bachelard délivre dès lors bel et bien une philosophie complète, sous-tendue par une pratique concrète de l’imagination, philosophie dont le foyer est une exigeante éthique de la verticalité, soucieuse d’orienter l'ensemble de nos mouvements dans le sens d’une « surexistence ». / By focusing on systematically studying "the imagination of movement" (subtitle of the 1943 book entitled The air and dreams), this thesis is primarily intended to show that a true philosophy unfolds through the poetics of Gaston Bachelard.The latter links in a new way, in a dynamic perspective, a theory and practice of imagination whose scope far exceeds the framework of a psychology of daydream and creative writing, to which it remains too often reduced: the philosopher shows that the images of different movement that animate the natural world (material, plant, animal) open the subject to structuring experience of an elementary verticality whose energy challenges and builds his own psycho-physical verticality. The detailed study of imaginative movement allows to unveil, beyond an original psychology, the ontological, anthropological and ethical meanings of bachelardian imagination.This study involves the implementation of a singular dynamic micro-phenomenology, allowing attention to focus on the cognitive, kinesthesic and affective dimensions of images, and through which the act of "seeing" in imagination (Part one : Seeing : The Movement Image) deepens - in a gradual incarnation – towards body movement (Second part : Moving : the images of motricity) and then towards "being moved" (Part Three : the images of emotion). However, far from locking away the subject in any form of psychological immanence, the focus of attention is intensifying its presence in the world as others and, thereby, involves an "action" (Part Four: Acting : the images of action) structured by the dynamic of verticality.Bachelard’s poetics therefore delivers a complete philosophy, underpinned by concrete practice of the imagination, philosophy whose focus is a demanding ethical verticality, anxious to direct all our movements in the sense of an increased existence.

This Master's thesis deals with the influence of breathe to baroreceptor reflex. The first chapter is focused on measuring of blood pressure, in reference to later used method. In the second part is detailed analysis and explanation of term baroreflex, relationship between frequency spectra of systolic blood pressure, heart rate and breathing, mechanisms of regulation of blood pressure and heart rate variability. Third chapter deals with possible ways, how to analyze data, which are needed for estimation of baroreflex sensitivity, analyze of heart rate variability and estimation of power spectral density. Next parts of this thesis is paid attention to technical equipment and methods of acqusition of data, using this equipmnent. Part of this work is also software application, which makes possible from the recorded data estimate baroreflex sensitivity.

The work deals with the possibility of interconnecting the teaching of mathematics with music. The theoretical part focuses on the relationship between mathematics and music, student motivation, the theory of multiple intelligence and also on whether music can contribute to the development of mathematical thinking. The practical part delivers five lesson preparations, where the main topic is music education and several other ways to use music education in another mathematical topic. KEYWORDS Music in mathematics, rhythm in mathematics, musical instruments in mathematics, motivation, word problems, equations, intersubject relations, Gardner's theory of multiple intelligence.