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With evidence ranging from visual representations by scanning tunneling microscopes to the fluid and dynamic language of poetry, my research shows that we are shifting from a culture primarily based on ‘sight’ to one that is involved with ‘touch,’ metaphorically and literally speaking. Recent developments in theory and technology, especially quantum physics and post-structuralism, have redefined representation to encompass the necessary reflex of the representer. To be sure, my research has also found feminist and postcolonial criticisms to echo this theory: both have sought to challenge representations due to the objectivity normally attributed to the representer, the Cartesian logic of which quantum theory has destabilized. Thus, by reading poetry with a quantum theoretical lens, specifically the works of Gertrude Stein, Marianne Moore, Anne Carson, and Theresa Hak Kyung Cha, I show how ‘touch’ plays into our language, consequently affecting how we think through language. / Master of Arts / This is an essay on language – how we read language, where we go with language, and how language affects the way we think. Because poetry is an activity that first realizes the limits of language and then attempts to go beyond those limits, reading and writing poetically teaches us to use language to think in a different manner, what I propose to be by <i>touch</i>: a quantum manner. With respect to the field of Linguistics, I want to clarify that I am not saying our thoughts are wholly limited and determined by our language – the space of our minds are quite far-reaching, and it is quite possible to think whatever we want. What I am saying, however, is that language <i>habituates</i> how we think, and poetry reveals these habits in an attempt to break from them. Marilynne Robinson calls these habits our “little island of the articulable, which we tend to mistake for reality itself” (21). Thus I explore attempts at breaking linguistic, hence cognitive, habits with poetry through the writings of Anne Carson and Theresa Hak Kyung Cha. I use feminist, post-colonial, and post-structural theories to formulate a methodology that shows how we <i>touch</i> language and understanding through poetry, at the same time enacting this poetic through my own writing

Ce mémoire présente les travaux dont l'objectif était de comparer les effets de la protéine de morue à ceux d'autres protéines animales sur la sensibilité à l'insuline, le métabolisme du glucose et divers marqueurs cardiovasculaires chez des femmes présentant un syndrome des ovaires polykystiques. Neuf femmes ont consommé pendant trois mois un régime alimentaire semi-contrôle incluant un repas par jour composé de protéine de morue et un régime similaire contenant des protéines provenant du boeuf, du porc, du veau, des oeufs et des produits laitiers (BPVOL), dans un dispositif de type chassé-croisé. Durant le test d'hyperglycémie provoquée par voie orale (HGPO), les niveaux de glucose et d'insuline étaient abaissés principalement au cours des 30 premières minutes suite à la consommation de protéine de morue comparativement aux autres protéines animales. La sensibilité à l'insuline et le profil lipidique sont demeurés inchangés. Nos résultats suggèrent qu'au cours de la phase initale d'un HGPO, la consommation d'un repas de morue par jour peut entraîner une meilleure réponse glycémique et insulinémique chez ces femmes.

Negli ultimi decenni i film studies stanno spostando la propria attenzione sul livello corporeo e affettivo dell’esperienza filmica. Adottando un approccio fenomenologico e focalizzandosi sulla nozione di empatia, la tesi studia le strategie del coinvolgimento dello spettatore cinematografico nei film di successo contemporanei. Il capitolo 1 rintraccia le diverse accezioni di empatia in filosofia, estetica, psicologia e nelle neuroscienze cognitive. Il capitolo 2 traccia una genealogia dell’empatia nelle teorie psicologiche ed estetiche del film. Il capitolo 3 esplora la rilevanza della teoria dell'atto empatico di Edith Stein per la filmologia e ne propone un'applicazione allo studio dell’esperienza filmica contemporanea. Il capitolo 4 analizza un ampio corpus di film contemporanei individuando quattro “figure aree” del coinvolgimento filmico: l’acrobazia, la caduta, il volo e il movimento in assenza di gravità. Attraverso la simulazione empatica dei movimenti nel film e del film, lo spettatore esperisce inavvertitamente l’intenzionalità implicata nelle forme e negli oggetti della rappresentazione, cogliendo con la propria sensibilità il senso di un’esperienza che trascende l’immanenza del film e contribuisce al processo di attribuzione di senso al Mondo, all’Altro e al Sé. / In recent decades film studies have shifted their focus to the emotional and bodily level of film experience. By adopting a phenomenological approach, this dissertation deals with the strategies of the film spectator’s involvement in contemporary mainstream narrative films. Chapter 1 reconstructs the meanings of the notion of empathy in philosophy, aesthetics, psychology and neurocognitive research. Chapter 2 traces a genealogy of empathy in film theories, from Bergsonism to Cognitivism, and evaluates the relevance of Simulation-Theory to film studies. Chapter 3 explores the relevance of Edith Stein’s phenomenological theory of empathy to film theory and assumes it is a theoretical model to investigate the “intensified” nature of both film design style and film reception style. A film is constructed and experienced on the basis of the “circuit of empathy”, a stratified system of different species of empathetic interaction, acting at senso-motorial, perceptual, cognitive and emotional levels with the aim of generating both an aesthetic and an inter-subjective experience. Chapter 4 analyses a vast corpus of contemporary films and focuses on four “aerial figures” of involvement and their combination: acrobatics, falling, flying, and non-gravitational movements, both of the actor’s human body and of the film’s anthropomorphic body. In the Conclusions, it is argued that the spectator internally imitates these “double” movements and inadvertently experiences the intentionality implied in the figures. Contemporary film spectators empathetically “get”, with their own sensibility, the senses of an experience that transcends the immanence of the film and contributes to the process of “giving” sense to the World, the Other, and the Self.

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète. / This thesis investigates the poetics of three very different female poets, whose works nevertheless are characterized as both indeterminate and radical: Emily Dickinson (1830-1886), Gertrude Stein (1874-1946), and Caroline Bergvall (b. 1962). Dickinson and Stein are Anglo-American, while Bergvall is of French-Norwegian descent yet writes in English, but all three fracture the conventional syntactic structures of the English language in their poetics. This move bears both aesthetic and political implications. In this thesis, I read the indeterminacies of their poetics through Lyn Hejinian’s notion of description as apprehension, which figures writing as a mode of knowing rather than a means of recording something the poet already knows. The temporality of epistemology in their work is thus the present tense of writing; thinking is concomitant with it. Following Hejinian, I contend that it is this temporality that, in making writing open to the vicissitudes, hesitations, reprisals, unexpected events, errors, and the torsions of affect, perturbs determination. The first chapter explores apprehension in Gertrude Stein’s work through her career-long commitment to the present tense of writing: perception occurs concurrently with composition. The second chapter, on Dickinson, hinges on the anxious dimension of apprehension, in which unease, in thwarting or repressing a thought, suspends its understanding. Indeterminacy figures as language claimed by an experience it can’t itself claim. Finally, the last chapter considers the linguistic indeterminacies of Say Parsley, where Bergvall stages the apprehension of language itself in using indeterminacy as a poetic strategy to determinate ends, placing the possibilities, uncertainties and responsibilities of apprehension onto the reader or spectator.

This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.

Cette thèse se concentre sur quelques sujets de probabilités et statistique liés à la génomique comparative. Dans la première partie nous présentons une approximation de Poisson composée pour calculer des probabilités impliquées dans des tests statistiques pour la significativité des régions génomiques conservées trouvées par une approche de type région de référence.<br>Un aspect important de notre démarche est le fait de prendre en compte l'existence des familles multigéniques. Dans la deuxième partie nous proposons trois mesures, basées sur la distance de transposition dans le groupe symétrique, pour quantifier l'exceptionalité de l'ordre des gènes dans des régions génomiques conservées. Nous avons obtenu des expressions analytiques pour leur distribution dans le cas d'une permutation aléatoire. Dans la troisième partie nous avons étudié la distribution du nombre de cycles dans le graphe des points de rupture d'une permutation signée aléatoire. Nous avons utilisé la technique ``Markov chain imbedding'' pour obtenir cette distribution en terme d'un produit de matrices de transition d'une certaine chaîne de Markov finie. La connaissance de cette<br>distribution fournit par la suite une très bonne approximation pour la distribution de la distance d'inversion.

This thesis is a comparative study of how elites in Sweden and Poland approach and make sense of EU membership. It begins with the observation that the public debates in several EU member countries are becoming increasingly politicized around a dichotomy, i.e. enthusiasm and skepticism vis-à-vis European integration. Whereas a lot of research in this field covers the characteristics of the European integration process itself, fewer studies focus upon the cognitive complexity involved in national strategic policy choices. The aim of this thesis is to explore, compare and contrast the organizational and cognitive aspects of how Sweden and Poland entered the EU and thereby to contribute to an understanding of how national policymakers in Europe believe that national and supranational integration can work together. The theoretical point of departure is Stein Rokkan’s model of political integration, which emphasizes the importance of functional and territorial political cleavages in the development of modern European nation states. The model is used to identify political actors and structures that are transnationalizing forces in Europe and to determine in what ways they form a challenge to national governments in the process of adaptation to the EU. Representing different theoretical points of intersection in the Rokkanian model, these challenges are defined as Integration, Trade and Industry, Functional Regionalism and Territorial Regionalism. The empirical analysis builds on these theoretical categories and covers three different areas. First, the ways in which adaptation to the EU was organized by the governments of Sweden (1988-1994) and Poland (1998-2004) are scrutinized. Second, documents concerning the strategic policy deliberation of both organizations are analyzed in the light of Rokkanian integration categories. Third, the results of two sets of research interviews, one in each country, are analyzed. A major conclusion drawn in the study is that Rokkanian integration theory holds the key to an understanding of how national policymakers believe that European integration can be segmented and how supranational integration in the economic sphere can evolve separately from other areas of social and political integration. Although from very different countries and political experiences, elites in Sweden and Poland show remarkable cognitive similarities. Another contribution to a cross-national understanding of adaptation to the EU is the cognitive model, which is developed on the basis of empirical study. The model expands upon and goes beyond the simple dichotomy of Enthusiasts and Skeptics in the discussion about European integration. Two new categories are introduced and defined as Voluntarists and Pragmatists. The argument is that new cognitive categories are necessary to improve the description and analysis of how national policy makers in Europe set up long-term political goals and manage complex issues in the process of European integration.

This dissertation studies several aspects of the interface between information theory and signal processing. Several new and existing results in information theory are researched from the perspective of signal processing. Similarly, some fundamental results in signal processing and statistics are studied from the information theoretic viewpoint. The first part of this dissertation focuses on illustrating the equivalence between Stein's identity and De Bruijn's identity, and providing two extensions of De Bruijn's identity. First, it is shown that Stein's identity is equivalent to De Bruijn's identity in additive noise channels with specific conditions. Second, for arbitrary but fixed input and noise distributions, and an additive noise channel model, the first derivative of the differential entropy is expressed as a function of the posterior mean, and the second derivative of the differential entropy is expressed in terms of a function of Fisher information. Several applications over a number of fields, such as statistical estimation theory, signal processing and information theory, are presented to support the usefulness of the results developed in Section 2. The second part of this dissertation focuses on three contributions. First, a connection between the result, proposed by Stoica and Babu, and the recent information theoretic results, the worst additive noise lemma and the isoperimetric inequality for entropies, is illustrated. Second, information theoretic and estimation theoretic justifications for the fact that the Gaussian assumption leads to the largest Cramer-Rao lower bound (CRLB) is presented. Third, a slight extension of this result to the more general framework of correlated observations is shown. The third part of this dissertation concentrates on deriving an alternative proof for an extremal entropy inequality (EEI), originally proposed by Liu and Viswanath. Compared with the proofs, presented by Liu and Viswanath, the proposed alternative proof is simpler, more direct, and more information-theoretic. An additional application for the extremal inequality is also provided. Moreover, this section illustrates not only the usefulness of the EEI but also a novel method to approach applications such as the capacity of the vector Gaussian broadcast channel, the lower bound of the achievable rate for distributed source coding with a single quadratic distortion constraint, and the secrecy capacity of the Gaussian wire-tap channel. Finally, a unifying variational and novel approach for proving fundamental information theoretic inequalities is proposed. Fundamental information theory results such as the maximization of differential entropy, minimization of Fisher information (Cramer-Rao inequality), worst additive noise lemma, entropy power inequality (EPI), and EEI are interpreted as functional problems and proved within the framework of calculus of variations. Several extensions and applications of the proposed results are briefly mentioned.

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