.../... / Traditional french painter georges mathieu is the french father of lyrical abstraction. Born in 1921, he enjoyed great fame in the years 1950-1980 and continued his many activities until his death in 2012. this is the adventure of this painter, alternately revered and controversial, for which we must conduct chronological study of the painted work. the establishment of the comprehensive catalog raisonné serves as a prerequisite for aesthetic analysis of his work. The media image of the painter and the character is very well known, but it is sketchy and hides her bulimia artistic productions, energy-time-space-speed, his vehemence in performance, his defense of traditional arts and crafts french and commitment to rehabilitate and safeguard techniques and ancestral know-how as part of a heritage policy. In the euphoric context of post-war and liberation, georges mathieu, after a degree in philosophy and english, decided to become a painter without initial training in fine arts. He chose the pictorial record of the non-figurative art, his gestures and signs. he explains this choice by a desire to break with mediocrity, to stave off a degrading materiality, and recover freedom usurped. mathieu has mastered multiple facets of art: writer, layout artist, sculptor, architect. This painter, among a constellation of artists, gallerists, critics, has become a spokesman vehement non geometric abstraction around artists such as soulages, wols and hartung. After i graduated in 1996 at the national school of fine arts in hanoi, traditional lacquer option, i followed for five years an academic teaching visual arts (in french tradition since my country is a former french colony) and a master of development, still in the plastic arts. In 2005 i joined the national education as a teacher at the school of fine arts in ho chi minh city (former saigon), open city that seemed to me to western influences of modern art or contemporary. I moved to france in 2008 and i decided to direct my thesis to a problematic centered on the non-figurative painting, so abstract, but not geometric, lyrical inspiration, informal or expressionist postwar. Georges Mathieu benefiting, to date, no catalog raisonné, i decided to call the thesis '' georges mathieu, catalog and study of his work. '' In 1947, mathieu aged 25, joined paris. he met famous painters wols, hartung, soulages, hantaï, atlan, zao wou-ki, vieira da silva, manessier, poliakoff and others. if Mathieu is the inventor of lyrical abstraction is also because qu'angliciste, who will make known american painters such as pollock, tobey, de kooning. director of public relations and quarterly editor united states lines paris review on behalf of a shipping company. it writes articles with the contribution of intellectuals and illustrious artists such as john cage, pierre boulez, frank lloyd wright, claude levis-strauss lupasco, roland barthes, carl jung. meanwhile, Mathieu continued to paint, and sells very early his first paintings. outside the partisan approach, 60 years after his first picture, two years after his death, we have enough distance to see the extent of his repertoire and his pictorial innovations. besides painting, mathieu enthusiasm for graphic arts, decorative and craft art. in this extension there is a growing interest for the development of a bold cultural policy, notably through his writings. Today we know less Georges Mathieu, while each held in the 1970s a piece of 10 francs in his hand, and saw the logo 2. Antenna is time to rehabilitate the painter and give him place in the pantheon of painters abstraction. [...]

La question qui nous occupe est celle que pose Descartes dans la deuxième Méditation : « je pense, je suis », « mais combien de temps ? » Question à laquelle la notion de « chose » apportera une réponse plus problématique que satisfaisante, puisqu’au premier abord, elle semble nier le temps – une chose ou substance ayant comme attribut essentiel la permanence. Or la permanence, même si elle sera justifiée par la théorie de la création continue de Dieu, ne trouve aucun écho du côté de la conscience, sujette à des intermittences, au sommeil, à la distraction. Aussi la question peut-elle se reformuler ainsi : suis-je vraiment toujours en train de penser, moi dont l’être est de penser, dont la pensée se définit par la conscience à soi, mais dont l’attention est fragile et l’assoupissement prompt ? Autrement dit, suis-je toujours conscient de moi-même, ce qui assurerait une identité à moi, non pas du point de vue ontologique, mais bien du point de vue de l’ego cogito, premier principe sur le chemin des raisons. Or deux figures mettent en cause la possibilité tant sur le plan métaphysique qu’anthropologique, d’une telle identité à soi : ce sont celles de l’enfant et du fou, qui brisent la continuité de la conscience à soi, et qui pourtant sont totalement « hommes », en tant qu’ils ont en partage la pensée. Nous tentons alors de démontrer que la temporalisation de la pensée par une mise en récit est ce qui performe une identité, autrement difficile à garantir du point de vue de l’ego, bien que garantie ontologiquement. Par le récit, l’ego devient sujet, telle serait la démonstration en acte des deux grands textes de Descartes écrits à la première personne. / ...

Doctorat en sciences psychologiques / info:eu-repo/semantics/nonPublished

D.Litt. et Phil. / Critics have identified the formulaic nature of the histoire tragique, a genre which seems to rely on a simple sequence of events. A law, whether natural, divine or human, will be broken by a transgressor and the resulting imbalance must be rectified by punishment of the crime. We have limited our field of study to collections of stories that their authors describe as “histoires”, a term revived in the mid-sixteenth century, which suggests that the tales have universal truth and serve as exempla. The term histoire tragique may however be a misnoma as comic and tragic tales are sometimes juxtaposed by sixteenth-century authors. This study examines the stories in four collections of histoire tragique from the sixteenth century: Discours des Champs faëz (Claude de Taillemont, 1553), Le Printemps d’Yver (Jacques Yver, 1572), Nouvelles Histoires tant tragiques que comiques (Vérité Habanc, 1585) and Nouvelles Histoires Tragiques (Bénigne Poissenot, 1586). A collection from the seventeenth century, Les Histoires mémorables et tragiques de ce temps (François de Rosset, 1619) provides a useful point of comparison for its sixteenth century counterparts. We look at three kinds of transgression: firstly those outside the stories themselves (transgressions of genre conventions or transgressions on the part of the author); secondly, transgressions within the stories themselves (the degree to which the author has observed the codes of conduct and social hierarchies); thirdly, transgressions at the level of the plot (how the characters behave, whether or not a crime is punished). This third category of transgression is further divided into the following categories: dissimulation, violence, sexual crimes and treason. In addition, we note the type of weapon used to commit a crime and the nature of the punishment, if any, that follows. We analyse the stories according to the nature of the offender. Crimes are committed by a variety of characters, “Barbarians” from North Africa and the Middle East, a servant, a family member or trusted friend. Crimes are also committed as a result of tension between aristocrat and peasant, or between catholic and protestant. Finally, we examine the stories of François de Rosset in the light of the discoveries made in the preceding chapters. The sixteenth century authors we have examined seek to instruct the reader and to arouse pity for the victims of crimes. Rosset, who excludes comic tales from his collection, seeks rather to arouse fear at the strength of human passions and the inevitable punishment for the crimes those passions inspire. The sequence of law/transgression/punishment is not always strictly adhered to by the authors of the sixteenth-century collections and where punishment does not occur, the sequence may be modified to law/transgression/redemption. The juxtaposition of comic and tragic tales varies the mood within a collection, but a happy ending to a story does not necessarily mean the absence of tragedy. If a crime goes unpunished then the judicial imbalance remains. Thus, tragic vision does not lie solely in the death of the main characters, but in the uncertainty of a world where a criminal may escape punishment.

Dans les domaines critiques d'application de l'informatique, il peut être vital de disposer d'un génie logiciel qui soit capable de garantir le bon fonctionnement des systèmes produits. Dans ce contexte, la méthode B évènementielle promeut le développement de modèles abstraits du système à concevoir et l'utilisation de démonstrations formelles ainsi que de la relation de raffinement entre les modèles. Notre but est de pouvoir travailler sur des systèmes ayant des aspects temporels quantitatifs (propriétés et contraintes de temps) en restant au sein du cadre défini par la méthode B qui a déjà montré son efficacité par ailleurs, mais qui ne dispose pas de concepts spécifiques pour le temps. C'est ainsi que nous proposons l'introduction des contraintes de temps par le raffinement, ceci permet de respecter la philosophie de la méthode B et de systématiser cette approche par la formalisation de patrons de raffinement. Nos différentes modélisations du temps sont proposées sous la forme de patron à réappliquer sur le système à étudier. Nous pouvons donc étudier progressivement le système à partir d'une abstraction non-temporelle afin de le valider progressivement et de distribuer la difficulté de la preuve en plusieurs étapes. L'introduction des aspects temporels ne se fait que lorsque cela est nécessaire lors du processus de développement prouvé. Nous avons validé cette approche sur des études de cas réalistes en utilisant les outils logiciels de démonstration formelle de la méthode B. / Critical application domains of computer science require the use of software engineering methods that ensure that the resulting systems behave according to their intended functionality. In this context, the Event-B method uses an approach based on stepwise refinement, starting with abstract, high-level models of the system under development. The system models corresponding to different levels of abstraction are related by precise and formally proved refinement relations. Our goal is to extend this approach to systems whose requirements include quantitative real-time aspects (properties and temporal constraints). In this way, we benefit from the established qualities of the B method, while extending its scope to real-time aspects that it does not yet cover. More specifically, we propose to introduce time constraints by refinement, respecting the overall approach of the B method, and to systematize our approach by the use of refinement patterns. Different time models are represented by generic patterns that can be reused for the development of concrete systems. In this way we can gradually develop the system from a non-temporal abstraction and progressively validate its correctness, distributing the burden of proof is over several refinement steps. Temporal aspects are introduced step by step and only when necessary. We validated this approach using several real-world case studies, using the software tools for formal proof developed for the Event-B method.

Le mixe énergétique du futur réseau électrique doit intégrer une grande quantité de source renouvelable intermittentes (RES). L’intermittence naturelle de ces sources sera,dans un premier moment, négligeable vis-à-vis de la stabilité du réseau électrique. Par contre,pour une large pénétration de RES, cette intermittence doit être intégrée à l'étude de la stabilité du réseau électrique. Pour une grande pénétration de RES à l'échelle européenne, un grand système de stockage d'énergie doit être mis en place. C'est déjà le cas aujourd'hui où les stations de transfert d'énergie par pompage(STEP) sont déjà utilisées. En effet, les STEP sont le moyen de stockage plus fiable et mature pour le stockage en haut puissance. Cependant,elles sont utilisées à ce jour, plutôt dans un cycle journalier et hebdomadaire d'équilibrage. La plupart des usines fonctionne de façon binaire(soit on, soit off) et ne participe pas à l'équilibrage du réseau électrique.Les nouvelles technologies envisagent de nouvelles utilisations pour les STEP. Les STEP à vitesse variable (Variable Speed PSP - de l'anglais Variable Speed Pumped Storage Plant)sont prévues de d'être utilisées en temps réel pour l'équilibrage du réseau électrique. L'objective de ce projet de ce projet est d'étudier les contributions de la STEP à vitesse variable à l'équilibrage du réseau électrique. Du point de vue du réseau, la STEP à vitesse variable est composée de deux systèmes en cascade séparés par les échelles de temps différentes. Le système peut réagir en 100ms avec la puissance nominale de la machine mais pour un temps limité (entre 5- 10s); le deuxième étage est le système hydraulique qui réagit moins vite (après 15s)mais qui peut tenir sa puissance pendant un longtemps (plusieurs heures). Ces différentes échelles de temps sont très importantes pour l'équilibrage du réseau électrique. Elles permettent que la STEP à vitesse variable soit utilisée pour différents problèmes d'équilibrage, mais comment l'utilisée reste encore un problème ouvert. Parmi d'autres,ce projet a comme objective répondre aux questions suivantes:Serait-il possible d'utiliser la STEP à vitesse variable pour l'équilibrage du réseau électrique à courant alternatif (AC) et/ou continu (DC)? Comment combiner, de façon intelligente, les réseaux continus à haute tension (HVDC - de l'anglais High Voltage Direct Current) et STEP à vitesse variable?Combinaison optimale de réaction rapide et lente pour équilibrer un réseau hybride AC et DC? La STEP à vitesse variable est-il un bon outil dynamique de stockage pour augmenter la capacité du réseau HVDC? Comment intégrer le contrôle d'une ligne HVDC et ce d'une STEP à vitesse variable?La STEP à vitesse variable peut atténuer les oscillations du réseau? / The future energy mix used toproduce electricity will include large shares ofrenewable energy sources (renewables). Theintrinsic time varying nature of these sourceswill be in the first a hinder to power systems'stability, but as their share will increase theypower of the machine but only for a limited time(typically 5 – 10 seconds); the second stage isthe hydraulic system that reacts slower (afterapprox. 15 seconds) but has a lot of energystored.These different time scales can be of uppermostUniversité Paris-SaclayEspace Technologique / Immeuble DiscoveryRoute de l’Orme aux Merisiers RD 128 / 91190 Saint-Aubin, Francemust be explicitly taken into account in thefuture when stabilizing the network. Forconstant use of renewables, in a Europe-widemanner, large storage will be capital. This isalready partially the case today, where pumpedwater storage is largely used. In fact waterstorage still is the most reliable and efficientstorage system for large amounts of power. Buttoday this is still mainly dedicated to findnight/day or weekly equilibrium of productionand consumption. These store plants are ratherplanned for an on/off utilization and do notparticipate on ancillary services (dynamicparticipation on the short term equilibrium of aninterconnection of systems or regions).New technologies allow envisaging new usesfor large storage systems. Variable SpeedPumped Storage Plants (Variable Speed PSP)are now expected to be used in real time toprovide ancillary services, effectivelyparticipating in the stabilization of powersystems. The objectives of this work are to studysome of these possibilities. It will look atdifferent aspects of stabilization: Variable SpeedPSP can be seen from the outside like a twostage systems in cascade that reacts with timeconstants that are one order of magnitude apart.The system can react within 100ms with ratedimportance when considering system's stability.They allow Variable Speed PSP to be used as thecontrol input for different stabilizationproblems, but how to do it is still an openproblem. Today these stations are only used asstandard storage, allowing the match ofproduction and consumption within a region ornetwork. The objective now is to study their useto further applications, and in particular, to studythe possibility of using them as one of the keycomponents of the future Multi-terminal HVDCnetworks. Several questions are open, this workaims to answer part of them:Is it possible to use Variable Speed PSP forancillary services (transient stability forexample) in AC and/or HVCD networks?How to combine in an intelligent way HVDCand Variable Speed PSP?Optimum combination of fast and slow reactionin order to stabilize a power grid that combinesDC and AC?Is Variable Speed PSP a good way to increasethe capability of HVDC by adding a verydynamic storage element?How to merge the control of the HVDC line andthe Variable Speed?Can this setup help to damp oscillations in thegrid?

The purpose of this dissertation is to introduce Le Temps Déformé for solo flute, percussion, and strings, composed by Korean American composer Texu Kim (b. 1980) in 2017. The dissertation includes an analysis of the work and its background, to show that it represents a significant expansion of the concerto repertoire for solo flute and to help performers interpret it. This piece of writing should also contribute to the available sources about the composer Texu Kim, given that it is the first dissertation about him or his work. This piece should be appropriate for flutists who are seeking to perform a new piece with orchestra. Although hundreds of concertos have been written for solo flute and orchestra or string orchestra, Kim uses the unusual instrumentation of strings and percussion (drum and triangle) without woodwinds and brass. In a program note, the composer mentions that he made use of Korean traditional music, Sujecheon, which has similar instrumentation. The note also discusses he transformed and interpreted Korean traditional music to create a new interaction with Western music.

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

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.