L’adolescence est une période de développement au cours de laquelle les individus expérimentent les premières activités sexuelles, investissent de nouveaux objets tout en s’éloignant de leurs parents. Ce profond remaniement peut conduire les adolescents à une prise de risque accrue, y compris dans la sexualité, et à une chute de l’estime de soi. Ce travail propose d’étudier les relations entre le style d’attachement (secure, insecure ambivalent et insecure évitant) à la mère et au père à l’adolescence et le type de sexualité engagée (sentimentalisée, corporalisée, évitée ou encore à risque). L’estime est considérée dans cette étude comme une variable intermédiaire dans les interactions entre l’attachement perçu aux parents et la sexualité des adolescents. Pour tenir compte des évolutions pubertaires et cognitives durant l’adolescence, la prime adolescence et la late adolescence sont étudiées séparément. Les sept études à la prime adolescence et à la late adolescence composant ce travail rendent compte que les différents styles d'attachement des adolescents à leur parent influence les modalités d'entrée dans la sexualité des adolescents avec la réactivation des angoisses d'abandon et d'intrusion avec une sexualité plus précoce, plus chaotique et désaffectivée pour les adolescents ayant un attachement insecure ambivalent ou évitant. La figure parentale semble jouer un role spécifique dans la sexualité des adolescentes / Adolescence is a period of development during which people experiment with their first sexual activities, explore new paths and distance themselves from their parents. This life changes may lead adolescents to increased risk-taking, including in sexuality, and to a loss of self-esteem. This work proposes to study the relations and the nature of the bond (secure, insecure ambivalent and insecure avoidant) with the mother and the father between the adolescence and the kind of sexuality held (sentimentalized, corporalized, avoided or risky). Self esteem is considered in this study as an intermediate variable in the interactions between the attachment perceived by parents and the sexuality of adolescents. To consider the pubertal and cognitive evolution during adolescence, the prime adolescence and the late adolescence are studied separately.. The sexual behavior of secure adolescents is reflected in their high self-esteem, with ease in intimate relations (both affective and physical) and a more sentimentalized and less risky sexuality. The ambivalent adolescents are more precocioulsy involved in sexual interactions and exhibit a more risk-taking sexuality, in the fear of rejection or abandonment. For the avoidant adolescents, they are less interested by the emotional implication of sexuality, and less oriented toward the sexual experiences with girls (attachment to the father) during the prime adolescence, without necessarily being sexually inactive in their late adolescence. In these relations, self-esteem is a real mediator for the attachments secure and insecure avoidant.

La présente thèse traite du sujet de la formation de soi-même, coûteux pour l'éducation, en mettant l'accent sur la figure du spectateur du cinéma. Sa création prend pour intercesseurs des témoignages de spectateurs, dont les récits, organisés autour de la mémoire d’oeuvres frappantes, exposent une cathégorie particulière de films : les films d’une vie. Il s’agit de films qui, à l’insu de leur importance dans l’histoire du cinéma, ont eu une importance dans «l’histoire individuelle » de chaqu’un, films dont l’élection se fait à partir d’une intimité première avec le corps de celui qui le regarde, en fait l’expérience, et est prêt à raconter son expérience, ou, plus exactement, les souvenirs qu’en demeurent. Extraits de la collection de livres intitulée Les films de ma vie, dont l’organisation a été entreprise par Leon Cakoff à l’occasion du 32ème Festival Internacional de Cinéma de São Paulo, les récits, tissés avec les images qui sont «emportées avec soi », indiquent qu’il y a quelque chose d’une vie qui se passe dans l’acte de réminiscence des films lesquels, pour quelque raison, sont «portés » pour la vie. Quelque chose qui concerne le passage et l’invention du temps, les différentes postures du corps et de l’âme, les expériences du monde et de l’être. Par conséquent, les questions proposées par la thèse au sujet de ce qu’elle suppose être un mouvement ontologique, poussé par l’expérimentation cinématographique vers le soi-même, résultent d’une conversation avec les récits et de la rencontre avec les « choses » qu’ils donnent à voir. En outre, à côté des témoignages, compose aussi la thèse l’attitude esthétique de la chercheuse elle-même qui, dans la condition de spectatrice et aimante du cinéma, prend pour intercesseurs aussi les films de sa propre collection pour, en mouvant les choses d’un côté à l’autre, exercer l’écriture. La necessité de la relation avec la parole d’autrui pour la composition de sa propre écriture exprime, ainsi, une certaine inscription benjaminienne dans la téssiture théorique et méthodologique de la tâche. On n’entend pas reconstituer, à partir de vestiges de l’expérience, aucune totalité : on vise plutôt ruminer et problématiser le thème à partir du choix de textes qui, déplacés de son origine textuelle, s’engagent à composer poétiquement le texte autre de la thèse. Dans ce chemin de rencontres et passages se mobilise la question : comment, de «l’ouverture au monde » immanente au cinéma, peut devenir l’ouverture au monde du soimême, relative au plan ontologique, dans la sphère de la réception – dans la mesure où cette réception est si proche du sujet de la formation de soi-même, dans les pratiques éducatives? / Esta tese trata do tema da formação de si, caro à educação, com foco na figura do espectador do cinema. Parto dos depoimentos de alguns espectadores, cujas narrativas foram organizadas em torno de sua memória, em relação a um tipo particular de filmes: os filmes de uma vida. Trata-se de filmes que, a despeito de sua importância para a história do cinema, tiveram importância para a “história individual” de cada um, filmes cuja eleição sucede a partir de uma intimidade primeira com o corpo daquele que olha, experimenta, e se dispõe a narrar sua experiência, ou, mais propriamente, as lembranças do que dela resta. Tais narrativas foram selecionadas a partir da coleção de livros intitulada Os filmes da minha vida, cuja organização foi iniciada por Leon Cakoff, à ocasião da 32ª Mostra Internacional de Cinema de São Paulo. Os depoimentos, tecidos por entre imagens que alguém “leva consigo”, indicam que qualquer coisa de uma vida se passa no ato de reminiscência de filmes, os quais, por alguma razão, são “carregados” pela vida afora. A tese, portanto, trata do tema da passagem e da invenção do tempo, também de diferentes posturas do corpo e da alma, sobre as experiências do mundo e do ser. Assim, as questões propostas pela pesquisa, relativamente ao que suspeita tratar-se de um movimento ontológico, impulsionado pela experimentação cinematográfica em direção ao si mesmo, surgem de uma conversa com as narrativas e do encontro com as “coisas” que elas trazem à vista. Além disso, ao lado dos depoimentos, integra a tese a atitude estética da própria pesquisadora que, na condição de espectadora e amante do cinema, toma como intercessores também os filmes de seu próprio acervo para, movendo as coisas de um lado a outro, ensaiar a escrita. A necessidade da relação com a palavra de outrem para a composição da própria escritura exprime, assim, certa inscrição benjaminiana na contextura teórica e metodológica do trabalho. Não há intenção de reconstituir, a partir dos resquícios da experiência, qualquer totalidade: busca-se antes problematizar o tema a partir da escolha de excertos que, deslocados de sua origem textual, passam a compor poeticamente o texto outro da tese. Por esse caminho de encontros e passagens, mobiliza-se a pergunta que move a tese: como, da “abertura para o mundo” imanente no cinema, pode devir a própria “abertura do mundo”, referente ao plano ontológico, na esfera da recepção – na medida em que tal recepção se encontra tão próxima do tema da formação de si, nas práticas educacionais? / This thesis deals with the subject of the self formation, expensive to the education, with focus on the figure of the spectator of the cinema. Its creation dialogues with statements made by spectators, whose narratives, organized around the memory of meaningful oeuvres, cover a specific category of films: the films of a life. It refers to films that, despite their importance to cinema history, were important in each one’s “individual history”, films which choice starts at a first intimacy with the watcher’s body, who experiments and is willing to tell their experience or, more exactly, its remaining memories. Selected from the book collection entitled The films of my life, which organization was started by Leon Cakoff at the 32nd International Film Festival of São Paulo, the narratives, sewed between images “taken with oneself”, indicate the happening of something of a lifetime in the act of reminiscing films that, for some reason, are “carried” throughout life. Something that speaks of the passage and invention of time, about different postures of body and soul, about experiencing the world and being. Therefore, the questions this thesis proposes relatively to what, it suspects, refers to an ontological movement, driven towards the self by cinematic experience, emerge from confronting these narratives and encountering the “things” they bring into view. Furthermore, composing the thesis alongside with the testimonies, the researcher’s own esthetic attitude, as a spectator and film lover herself, integrates her own collection of movies to, moving things from side to side, engage in the writing experience. The necessity of relating to others’ writing for composing her own expresses a certain benjaminian inscription in the work’s theoretical and methodological construction. The intention is not to recreate, from the debris of experience, any totality: the aim is to ruminate and problematize the theme leaning on excerpts which, dislodged from their textual origin, begin to compose poetically the text other of the thesis. Along this path of encounters and passages moves the question: how, from the “opening to the world” immanent in cinema, can take place one’s own “opening to the world”, relative to the ontological plan, in the sphere of reception – as such reception is so close to the subject of self formation, in educational practices?

La présente thèse traite du sujet de la formation de soi-même, coûteux pour l'éducation, en mettant l'accent sur la figure du spectateur du cinéma. Sa création prend pour intercesseurs des témoignages de spectateurs, dont les récits, organisés autour de la mémoire d’oeuvres frappantes, exposent une cathégorie particulière de films : les films d’une vie. Il s’agit de films qui, à l’insu de leur importance dans l’histoire du cinéma, ont eu une importance dans «l’histoire individuelle » de chaqu’un, films dont l’élection se fait à partir d’une intimité première avec le corps de celui qui le regarde, en fait l’expérience, et est prêt à raconter son expérience, ou, plus exactement, les souvenirs qu’en demeurent. Extraits de la collection de livres intitulée Les films de ma vie, dont l’organisation a été entreprise par Leon Cakoff à l’occasion du 32ème Festival Internacional de Cinéma de São Paulo, les récits, tissés avec les images qui sont «emportées avec soi », indiquent qu’il y a quelque chose d’une vie qui se passe dans l’acte de réminiscence des films lesquels, pour quelque raison, sont «portés » pour la vie. Quelque chose qui concerne le passage et l’invention du temps, les différentes postures du corps et de l’âme, les expériences du monde et de l’être. Par conséquent, les questions proposées par la thèse au sujet de ce qu’elle suppose être un mouvement ontologique, poussé par l’expérimentation cinématographique vers le soi-même, résultent d’une conversation avec les récits et de la rencontre avec les « choses » qu’ils donnent à voir. En outre, à côté des témoignages, compose aussi la thèse l’attitude esthétique de la chercheuse elle-même qui, dans la condition de spectatrice et aimante du cinéma, prend pour intercesseurs aussi les films de sa propre collection pour, en mouvant les choses d’un côté à l’autre, exercer l’écriture. La necessité de la relation avec la parole d’autrui pour la composition de sa propre écriture exprime, ainsi, une certaine inscription benjaminienne dans la téssiture théorique et méthodologique de la tâche. On n’entend pas reconstituer, à partir de vestiges de l’expérience, aucune totalité : on vise plutôt ruminer et problématiser le thème à partir du choix de textes qui, déplacés de son origine textuelle, s’engagent à composer poétiquement le texte autre de la thèse. Dans ce chemin de rencontres et passages se mobilise la question : comment, de «l’ouverture au monde » immanente au cinéma, peut devenir l’ouverture au monde du soimême, relative au plan ontologique, dans la sphère de la réception – dans la mesure où cette réception est si proche du sujet de la formation de soi-même, dans les pratiques éducatives? / Esta tese trata do tema da formação de si, caro à educação, com foco na figura do espectador do cinema. Parto dos depoimentos de alguns espectadores, cujas narrativas foram organizadas em torno de sua memória, em relação a um tipo particular de filmes: os filmes de uma vida. Trata-se de filmes que, a despeito de sua importância para a história do cinema, tiveram importância para a “história individual” de cada um, filmes cuja eleição sucede a partir de uma intimidade primeira com o corpo daquele que olha, experimenta, e se dispõe a narrar sua experiência, ou, mais propriamente, as lembranças do que dela resta. Tais narrativas foram selecionadas a partir da coleção de livros intitulada Os filmes da minha vida, cuja organização foi iniciada por Leon Cakoff, à ocasião da 32ª Mostra Internacional de Cinema de São Paulo. Os depoimentos, tecidos por entre imagens que alguém “leva consigo”, indicam que qualquer coisa de uma vida se passa no ato de reminiscência de filmes, os quais, por alguma razão, são “carregados” pela vida afora. A tese, portanto, trata do tema da passagem e da invenção do tempo, também de diferentes posturas do corpo e da alma, sobre as experiências do mundo e do ser. Assim, as questões propostas pela pesquisa, relativamente ao que suspeita tratar-se de um movimento ontológico, impulsionado pela experimentação cinematográfica em direção ao si mesmo, surgem de uma conversa com as narrativas e do encontro com as “coisas” que elas trazem à vista. Além disso, ao lado dos depoimentos, integra a tese a atitude estética da própria pesquisadora que, na condição de espectadora e amante do cinema, toma como intercessores também os filmes de seu próprio acervo para, movendo as coisas de um lado a outro, ensaiar a escrita. A necessidade da relação com a palavra de outrem para a composição da própria escritura exprime, assim, certa inscrição benjaminiana na contextura teórica e metodológica do trabalho. Não há intenção de reconstituir, a partir dos resquícios da experiência, qualquer totalidade: busca-se antes problematizar o tema a partir da escolha de excertos que, deslocados de sua origem textual, passam a compor poeticamente o texto outro da tese. Por esse caminho de encontros e passagens, mobiliza-se a pergunta que move a tese: como, da “abertura para o mundo” imanente no cinema, pode devir a própria “abertura do mundo”, referente ao plano ontológico, na esfera da recepção – na medida em que tal recepção se encontra tão próxima do tema da formação de si, nas práticas educacionais? / This thesis deals with the subject of the self formation, expensive to the education, with focus on the figure of the spectator of the cinema. Its creation dialogues with statements made by spectators, whose narratives, organized around the memory of meaningful oeuvres, cover a specific category of films: the films of a life. It refers to films that, despite their importance to cinema history, were important in each one’s “individual history”, films which choice starts at a first intimacy with the watcher’s body, who experiments and is willing to tell their experience or, more exactly, its remaining memories. Selected from the book collection entitled The films of my life, which organization was started by Leon Cakoff at the 32nd International Film Festival of São Paulo, the narratives, sewed between images “taken with oneself”, indicate the happening of something of a lifetime in the act of reminiscing films that, for some reason, are “carried” throughout life. Something that speaks of the passage and invention of time, about different postures of body and soul, about experiencing the world and being. Therefore, the questions this thesis proposes relatively to what, it suspects, refers to an ontological movement, driven towards the self by cinematic experience, emerge from confronting these narratives and encountering the “things” they bring into view. Furthermore, composing the thesis alongside with the testimonies, the researcher’s own esthetic attitude, as a spectator and film lover herself, integrates her own collection of movies to, moving things from side to side, engage in the writing experience. The necessity of relating to others’ writing for composing her own expresses a certain benjaminian inscription in the work’s theoretical and methodological construction. The intention is not to recreate, from the debris of experience, any totality: the aim is to ruminate and problematize the theme leaning on excerpts which, dislodged from their textual origin, begin to compose poetically the text other of the thesis. Along this path of encounters and passages moves the question: how, from the “opening to the world” immanent in cinema, can take place one’s own “opening to the world”, relative to the ontological plan, in the sphere of reception – as such reception is so close to the subject of self formation, in educational practices?

abstract: Since its inception about three decades ago, silicon on insulator (SOI) technology has come a long way to be included in the microelectronics roadmap. Earlier, scientists and engineers focused on ways to increase the microprocessor clock frequency and speed. Today, with smart phones and tablets gaining popularity, power consumption has become a major factor. In this thesis, self-heating effects in a 25nm fully depleted (FD) SOI device are studied by implementing a 2-D particle based device simulator coupled self-consistently with the energy balance equations for both acoustic and optical phonons. Semi-analytical expressions for acoustic and optical phonon scattering rates (all modes) are derived and evaluated using quadratic dispersion relationships. Moreover, probability distribution functions for the final polar angle after scattering is also computed and the rejection technique is implemented for its selection. Since the temperature profile varies throughout the device, temperature dependent scattering tables are used for the electron transport kernel. The phonon energy balance equations are also modified to account for inelasticity in acoustic phonon scattering for all branches. Results obtained from this simulation help in understanding self-heating and the effects it has on the device characteristics. The temperature profiles in the device show a decreasing trend which can be attributed to the inelastic interaction between the electrons and the acoustic phonons. This is further proven by comparing the temperature plots with the simulation results that assume the elastic and equipartition approximation for acoustic and the Einstein model for optical phonons. Thus, acoustic phonon inelasticity and the quadratic phonon dispersion relationships play a crucial role in studying self-heating effects. / Dissertation/Thesis / M.S. Electrical Engineering 2013

La question « SDF » est étudiée au sein de deux paradigmes : l’approche critique qui insiste sur les phénomènes de domination sociale et l’approche interactionniste qui souligne les adaptations successives que les individus mettent en oeuvre. Ces adaptations sont étudiées à travers des situations particulières dans lesquelles l’identité de sansdomicilese construit et une carrière se dessine. Cette carrière est abordée soit comme une carrière de désocialisation dont la clochardisation constitue l’horizon, soit comme une carrière de survie dont le maintien de soi forme la perspective quotidienne et biographique. Dans ce cadre, les travaux menés sur les questions de la « sortie » et du « chez soi »ouvrent la voie à une approche renouvelée du maintien de soi au-delà de la gestion de la « face » en situation. C’est dans cette perspective que s’inscrit notre ethnographie des pratiques numériques comme supports pratiques du maintiende soi. L’expérience de l’errance est traversée par un certain nombre d’épreuves rassemblées dans une lutte pour le maintien de soi. Ainsi, le maintien de soi est à la fois une préoccupation quotidienne et une question biographique englobant les temporalités passées, présentes et futures. Il se travaille dans le quotidien de la survie mais aussi dans le travail de mémoire, de présentation, d’expérimentation et de projection de soi. Si la lutte contre la déprise est un travail essentiellement invisible, les pratiques numériques, observées dans l’écologie de l’activité, offrent une entrée pourl’observation et l’analyse. Ainsi, les pratiques numériques supportent, dans le quotidien de la survie, les démarches d’accès aux droits et la négociation de marges d’autonomie. Elles sont également un support des sociabilités familiales etamicales. Les pratiques numériques, à l’interface entre le privé et le public permettent aux personnes à la rue de s’aménager des temps et des espaces pour se soucier d’elles-mêmes. Enfin, notre recherche montre que les pratiques numériques constituent un support ambivalent, tantôt habilitant, tantôt disqualifiant. En effet, le support ne s’actualise pas nécessairement positivement et peut, au contraire, se retouner contre le sujet, alimentant l’émiettement identitaire et renforçant les sentiments de solitude et d’indignité. / Homelessness is studied within two paradigms: the critical approach, which emphasizes the phenomena of social domination and the interactionist approach that underlines the successive adaptations that individuals implement. Those adaptations are studied through particular situations within which the "homeless" identity is built and a career takes shape. That career is looked at either as a un-socialization career or as a survival career in which self-preservation forms a daily and biographical perspective. In this context, working on issues such as "Getting off the streets" and "Home" paves the way for a renewed approach to self-preservation beyond situational facework. In this perspective, our ethnography of digital practices forms a practical support for self-preservation. Our fieldwork within social support structures shows that all the people surveyed, despite their heterogeneity, experience wandering as an intimate and social experience, and as a form of extreme precariousness which is lived between street and assistance, and marked by a self-weakening and an alteration of the capacity to look to the future. This experience is punctuated by many trials, gathered in a struggle for self-preservation. Self-preservation is then both a daily concern and a biographical question encompassing past, present and future temporalities. It is a work in the daily reality of survival but also through a memory work, selfpresentation, self-experimentation and self-projection. If the struggle against disengagement is almost invisible, digital practices offer a new approach for observation and analysis. Digital uses make it possible to access to rights and margins of autonomy. They also support friendship and family links. Between private and public life, digital uses allow homeless people to set up times and spaces to care about themselves. Eventually, our study also shows that digital uses create an ambivalent form of support: sometimes enabling, sometimes disqualifying. Indeed, it can turn against the subject, feeding identity crumbling and strengthening the solitude and unworthiness feelings

To investigate quantum confinement effects on silicon (Si) light source electroluminescence (EL) properties like quantum efficiency, external power efficiency and spectral emission, thin Si finger junctions with nanometre-scale dimensions were designed and manufactured in a fully customized silicon-on-insulator (SOI) semiconductor production technology. Since commonly available photolithography is unusable to consistently define and align nanometre-scale line-widths accurately and electron-beam lithography (EBL) by itself is too time-expensive to expose complete wafers, the wafer manufacturing process employed a selective combination of photolithography and EBL. The SOI wafers were manufactured in the clean-rooms of both the Carl and Emily Fuchs Institute for Microelectronics (CEFIM) at the University of Pretoria (UP) and the Georgia Institute of Technology’s Microelectronic Research Centre (MiRC), which made a JEOL JBX-9300FS electron-beam pattern generator (EPG) available. As far as is known this was the first project in South Africa (and possibly at the MiRC) that employed EBL to define functional nanometre-scale semiconductor devices. Since no standard process recipe could be employed, the complete design and manufacturing process was based on self-obtained equipment characterization data and material properties. The manufacturing process was unprecedented in both the CEFIM and MiRC clean-rooms. The manufacture of nanometre-scale Si finger junctions not only approached the manufacturing limits of the employed processing machinery, but also had to overcome undesirable physical effects that in larger-scale semiconductor manufacture usually are negligible. The device design, mask layout and manufacturing process therefore had to incorporate various material, equipment limitation and physical phenomena like impurity redistribution occurring during the physical manufacturing process. Although the complicated manufacturing process allowed many unexpected problems to occur, it was expected that at least the simple junction breakdown devices be functional and capable of delivering data regarding quantum confinement effects. Although due to design and processing oversights only 29 out of 505 measured SOI light sources were useful light emitters, the design and manufacture of the SOI light sources was successful in the sense that enough SOI light sources were available to conduct useful optical characterization measurements. In spite of the fact that the functional light sources did not achieve the desired horizontal (width) confinement, measured optical spectra of certain devices indicate that vertical (thickness) confinement had been achieved. All spectrometer-measured thickness-confined SOI light sources displayed a pronounced optical power for 600 nm < λ < 1 μm. The SOI light source with the highest optical power output emitted about 8 times more optical power around λ = 850 nm than a 0.35 μm bulk-CMOS avalanche light-source operating at the same current. Possible explanations for this effect are given. It was shown that the buried oxide (BOX) layer in a SOI process could be used to reflect about 25 % of the light that would usually be lost to downward radiation back up, thereby increasing the external power efficiency of SOI light sources. This document elaborates on the technical objectives, approach, chip and process design, physical wafer manufacture, production process control and measurement of the nanometre-scale SOI light sources. Copyright / Dissertation (MEng)--University of Pretoria, 2010. / Electrical, Electronic and Computer Engineering / unrestricted

Cette thèse interdisciplinaire analyse la manière dont des citoyens débattent lors d’une consultation publique organisée sur des questions éthiques controversées. Elle s’intéresse plus spécifiquement à la « présentation de soi » que des individus construisent à travers leurs écrits dans le but de crédibiliser leurs discours sur l’euthanasie. Sur ce sujet, ces voix citoyennes n’ont jusqu’ici que peu retenu l’attention des chercheurs. Le cas étudié concerne la consultation publique québécoise organisée en 2010-2011 par la « Commission spéciale sur la question de mourir dans la dignité ». Nous analysons à l’aide des outils de la rhétorique et de « l’argumentation dans le discours », les mémoires écrits (n= 149) envoyés par des citoyens à la Commission spéciale. Devant la taille et le nombre important de documents (de 1 à plus de 250 pages, 5 pages en moyenne), nous utilisons la formule « mourir dans la dignité », tout à fait centrale dans le débat québécois, comme un point d’accès à ce débat. Nous partons de cette formule pour comprendre comment les participants argumentent, avant de regarder dans les autres parties de ces mémoires. Quatre types moyens de présentation de soi se dégagent de l’analyse, à savoir l’expert (n=40), le témoin (n=40), l’opinant (n=52) et l’amateur (n=17). Là où l’expert se présente professionnellement de manière détaillée, là où le témoin développe son récit, l’opinant, lui, dit très peu de choses sur lui-même. Il se distingue des autres figures moyennes par la faible présence – et parfois l’absence – d’informations personnelles ou professionnelles. L’amateur se situe ici entre l’opinant et l’expert ou le témoin : les faits biographiques (personnels ou professionnels) tiennent généralement sur quelques lignes. Celui-ci se présente implicitement comme amateur lorsque, ayant la possibilité de s’appuyer sur une expertise ou expérience personnelle, choisit plutôt de dire ce que ne dit jamais l’expert et qui pourrait se résumer ainsi : « les personnes ordinaires comme moi ». À de très rares exceptions, toutes les personnes engagées politiquement dans cette consultation publique, aussi différentes soient-elles, affichent une grande certitude dans leurs croyances éthiques. À la question qui leur est notamment posée – faut-il légaliser l’euthanasie? – les participants ne montrent guère de doutes. Chacun fait comme si les convictions de l’adversaire étaient inférieures aux siennes qu’ils présentent souvent comme universelles. Concernant la formule « mourir dans la dignité », les participants prétendent implicitement à l’objectivité de leur définition. Ils agissent même comme s’il existait une seule définition de la formule « mourir dans la dignité » et une seule vérité éthique. Nous soutenons que ces manières d’argumenter sont efficaces pour masquer la fragilité des croyances éthiques et maintenir l’adversaire à distance. Notre conclusion suggère pourtant qu’une éthique plus humble, complexe et sociale pourrait fonctionner en dehors d’un système fortement polarisé.

Au delà de toute classification nosographique, il y a un caractère irréductible qui relie la dimension de l’habiter à l’humain, quelles qu’en soient ses conditions, sa structure. Parce qu’elle est intimement intriquée au corps et au langage, la question de l’habiter intéresse la psychanalyse qui, dès lors, se doit de l’envisager dans ses liens avec la folie et la norme. Que signifie habiter ? Quels territoires désigne ce verbe ? Quelles en sont ses frontières? Habiter a-t-il toujours pour horizon la constitution d’un espace circonscrit, d’un « chez-soi » ? En effet, le propre de l’exister humain n’est pas uniquement caractérisé par l’appropriation d’un territoire, par l’acquisition d’un espace privé, mais par le fait d’être toujours déjà exposé à son dehors. Nous habitons d’ailleurs ce paradoxe : chez-nous, c’est toujours hors de nous. Cet inconfort inhérent à tout habiter humain est à l’origine de nombreuses impasses cliniques dans les pratiques actuelles de réinsertion par le logement. Cette réflexion, au croisement de la philosophie, de la psychanalyse et des sciences sociales, veut questionner les frontières entre le dedans et le dehors, entre moi et l’autre, en pointant que l’habitation du sujet n’est jamais toute. « L’habitat-terrier » de Monsieur H, la « maison hantée » de Madame M et le « garde-meubles » de Monsieur C - trois déclinaisons cliniques de l’habiter - nous permettent de montrer comment l’inconscient et l’Unheimlich interrogent les catégories habituelles du familier, de l’intimité et de l’étranger. Ainsi, l’habiter ne saurait être pensé sans un rapport à la hantise. Plus précisément, ce que la hantise fait au lieu qu’on habite, c’est de lui autoriser un « hors-lieu », ce qui constitue l’essence même de l’opération psychanalytique. Dès lors, quelle serait une conception freudienne de la maison? Il s’agira de penser les modalités de l’habiter en les articulant aux questions de seuil, d’accueil et d’hospitalité, ceci afin de dégager une certaine « éthique de l’habiter ». / The bond between the questions of inhabiting and being is an inveterate one, beyond any nosographic considerations, regardless of the structure and the conditions surrounding each and every person. Inhabiting is intimately woven into the fabric of the body and of language, and is therefore of natural interest to psychoanalysis, which, in turn, is called upon to address its relationship to insanity and to the norm. What does inhabiting mean? Which territories does this term point at? What are its frontiers? Does inhabiting always pertain to a to well-defined space, of one’s own? Human existence is not only defined by the appropriation of territory, nor by the acquisition of private space, but also by the very fact of being constantly exposed to one's “outside”. Indeed, we dwell within this paradox: “our place” is forever outside of our selves. This discomfort, inherent to all human inhabiting, is at the heart of numerous clinical dead-ends, encountered by projects aiming at social inclusion through housing. Our study, at the crossroads of philosophy, psychoanalysis and social science, seeks to question the frontier between “inside” and “outside”, between myself and others, pointing out that inhabiting is never one and a whole. We will look at three clinical studies: M. H’s “burrow”, Ms. M’s “haunted house” and Mr. C’s “storage facility”. They will allow us to examine how the subconscious, and the Unheimlich put ill at ease the habitual categorization of familiarity, intimacy and the foreign. We will discover that inhabiting cannot be addressed unrelated to the concept of haunting. Indeed, it is the haunting which makes it possible for a situ to have its corresponding ex-situ, which is the very essence of the psychoanalytic process. What would then be a Freudian conception of the House? We will study the various modes of inhabiting as they pertain to the issues of the threshold, of welcoming and of hospitality, aiming at a definition of the Ethics of Inhabiting

Au croisement de la philosophie et des études théâtrales, cette thèse présente un double objectif. Montrer en quoi une réflexion sur le théâtre permet de prolonger et de renouveler des problématiques d’esthétique générale portant sur le statut ontologique de l’art, d’un côté. Proposer une interprétation de l’expérience esthétique des scènes théâtrales, d’un autre côté. Nous nous intéressons aux conditions d’expérience de la scène et à ses effets sur notre existence à partir de l’analyse des démarches artistiques de Stanislas Nordey, Claude Régy et François Tanguy, ainsi que d’un metteur en scène émergent, Simon Gauchet. Notre approche méthodologique articule les apports des phénoménologies de la perception (Merleau-Ponty) et de l’événement (Claude Romano) avec ceux du pragmatisme anglo-américain (John Dewey, Richard Shusterman, Stanley Cavell) ou d’inspiration angloaméricaine (Marielle Macé, Sandra Laugier). Le théâtre participe à des processus d’individualisation que nous pouvons comprendre comme des éléments de stylisation pour nos existences. Il a également une force éthique en ce qu’il contribue chez les individus au développement des dispositions du care. Ainsi, le théâtre peut-il être défini comme un art de l’existence / The purpose of this dissertation, at the crossroad of philosophy and theatre studies, is twofold. On one hand, the dissertation aims to point out how a study of theatre helps extend and renew problems of aesthetics concerning the ontological status of art. On the other hand, this work tries to suggest an interpretation of the aesthetic experience of theatrical stages. We are looking into in the experimental conditions of the stage and its effects on our existence, based on the analysis of the artistic approaches of Stanislas Nordey, Claude Régy and François Tanguy, along with a rising director, Simon Gauchet. Our methodological approach combines the contributions of the phenomenologies of perception (Merleau-Ponty) and of event (Claude Romano) with those of the Anglo-American pragmatism (John Dewey, Richard Shusterman, Stanley Cavell) as well as a pragmatism motivated by the Anglo-American tradition (Marielle Macé, Sandra Laugier). Theatre participates to individualization processes which can be interpreted as elements of stylization of our life. It also yields an ethical power by helping individuals to develop care skills. As such, it is possible to define theatre as an art of existence

CONSTRUCTING AND OPTIMIZING A SINGLE WAFER SOLAR CELL ARRAY IN THE MICROFABRICATION LAB AT CALIFORNIA POLYTECHNIC STATE UNIVERSITY AT SAN LUIS OBISPO Solar cells are more and more becoming a significant source of energy in the world today. They are used to power entire buildings as well as small devices and everything in between, and are utilized all around the world. Smaller solar devices, such as hearing aid battery chargers, cost a lot of money relative to the monetary wealth in third-world countries. For this purpose, a less expensive, more efficient solar cell array should be developed. This study contains research that details all aspects of how solar cells work. It also details three years’ worth of studies at California Polytechnic State University (Cal Poly) that attempt to fabricate a solar cell array on a single wafer. Two tests were carried out that will help determine the optimal attributes of the solar cells. The first compared a solar cell made on a 10 µm thick silicon on insulator (SOI) wafer to solar cells made with the exact same masks on a 500 µm thick wafer. The thicker solar cell had 2.5 times the maximum power as the SOI solar cell. Aspects of the solar cell that would need to be improved are: increase thickness to between 70-100 µm from the SOI thickness, texture the front surface, add a passivation layer on the front surface, decrease the contact resistance for the metal electrodes, and add in a rear reflector. The next test was all about analyzing the metal contacts and interconnects. Ten gold-silver filled epoxy-gold bonds were constructed and measured ten times each, giving a grand mean between 10 and 11 Ω. Another short test was run with a commercial solar cell to characterize the change in power based on the series resistance. It was discovered that the both the epoxy and the gold add too much to the resistance. To fix this, a silver solder-like paste and a thicker contact metal should be used. There is also a derivation that details the design of a top contact layer that optimizes the finger spacing and finger width based on other solar cell factors. With the materials available at Cal Poly, a solar cell array can be fabricated on a single wafer. When accounting for the materials and processes available to the scientific community as a whole, a very effective and efficient solar cell can be fabricated.