Cette thèse se compose de deux parties. Partie 1 étudie la décomposition des groupes de cohomologie pour une famille de courbes non hyperelliptiques de genre 3 avec une involution, et le bénéfice d'une telle décomposition dans le calcul de Frobenius utilisant l'algorithme de Kedlaya. L'involution d'une telle courbe C induit un morphisme de degré 2 vers une courbe elliptique E, ce qui donne une décomposition de Jac(C) en E et en une surface abélienne A, à partir desquelles le Frobenius sur C peut être récupérée. En E, le polynôme caractéristique du Frobenius peut être calculé en utilisant un algorithme efficace et rapide en pratique. En travaillant avec le sous-groupe V de $H^1_{MW}(C)$, on obtient une meilleure constante que l'application directe de la méthode de Kedlaya à C. À ma connaissance, ceci est la première utilisation de la décomposition de la cohomologie induite par une décomposition (à isogénie près) de la jacobienne en l'algorithme de Kedlaya. Dans partie 2, je propose une nouvelle approche aux distributions de Frobenius et aux groupes de Sato-Tate, qui utilise les relations d'orthogonalité des caractères irréductibles du groupe de Lie USp(2g) et ses sous-groupes. Dans ce but, je présente d'abord une méthode simple pour calculer les caractères irréductibles de USp(2g), et puis je développe un algorithme basé sur la formule de Brauer-Klimyk. Les avantages de cette nouvelle approche sont examinés en détail. J'utilise aussi la famille de courbes dans partie 1 comme une étude de cas. Les analyses et les comparaisons montrent que l'approche par la théorie des caractères est un outil plus intrinsèque et très prometteur pour l'étude des groupes de Sato-Tate. / This thesis consists of two parts. Part 1 studies the decomposition of cohomology groups induced by automorphisms for a family of non-hyperelliptic genus 3 curves with involution, and I investigate the benefit of such decomposition in the computation of Frobenius using Kedlaya's algorithm. The involution of a curve C in this family induces a degree 2 map to an elliptic curve E, which gives a decomposition of the Jacobian of C into E and an abelian surface A, from which the Frobenius on C can be recovered. On E, the characteristic polynomial of the Frobenius can be computed using an efficient and fast algorithm. By working with the cohomology subgroup V of $H^1_{MW}(C)$, we get a constant speed-up over a straightforward application of Kedlaya's method to C. To my knowledge, this is the first use of decomposition of the cohomology induced by an isogeny decomposition of the Jacobian in Kedlaya's algorithm. In Part 2, I propose a new approach to Frobenius distributions and Sato-Tate groups, which uses the orthogonality relations of the irreducible characters of the compact Lie group USp(2g) and its subgroups. To this purpose, I first present a simple method to compute the irreducible characters of USp(2g), then I develop an algorithm based on the Brauer-Klimyk formula. The advantages of this new approach to Sato-Tate groups are examined in detail. The results show that the error grows slowly. I also use the family of genus 3 curves studied in Part 1 as a case study. The analyses and comparisons show that the character theory approach is a more intrinsic and very promising tool for studying Sato-Tate groups.

This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un tel système a pu perdurer pendant plus de deux cents ans, provoquer la division profonde d’une nation et une guerre civile pour finalement laisser des traces et des marques indélébiles sur les États-Unis. Cet intérêt nous a poussés à nous intéresser tout d’abord à la notion du traumatisme culturel de l’esclavage, puis, à sa représentation cinématographique dans le cinéma américain par trois cinéastes américains (D. W. Griffith, né en 1875 dans le Kentucky, Steven Spielberg, né en 1946 dans l’Ohio et Tate Taylor né en 1969 dans le Mississippi), qui traitent de trois périodes historiques différentes à des époques distinctes. Nous nous sommes alors posé la question du lien qu’il existe entre la réalité physique, vécue, d’un événement et sa représentation cinématographique qui est forcément distanciée, temporellement et/ou spatialement. Comment les réalisateurs peuvent-ils représenter fidèlement la réalité historique ? Comment évitent-ils (ou non) d’insérer des « filtres », qu’ils soient personnels ou sociologiques, et, comment ne pas transformer l’histoire, la modeler, en occultant par exemple les éléments qui n’abondent pas dans le sens du message que l’on souhaite véhiculer ? Dans l’hypothèse où le réalisateur est de parti-pris, comment le spectateur peut-il en avoir conscience au moment où il regarde le film ? Ce travail est donc né d’une réflexion sur l’importance culturelle et civilisationnelle de la notion de traumatisme culturel dans la représentation cinématographique de l’esclavage aux États-Unis. Les trois films que nous avons choisis pour notre corpus sont The Birth of a Nation de D.W. Griffith (1915), Amistad de Steven Spielberg (1997) et The Help, de Tate Taylor (2011). Ces films représentent trois époques distinctes de la vie et de la société américaine puisque The Birth of a Nation raconte le déroulement de la Guerre de Sécession en se plaçant dans la vie d’une famille sudiste. Amistad prend pour contexte les années 1839 à 1841 et The Help se déroule à Jackson, dans le Mississippi des années 60.En choisissant des films qui représentent des époques historiques distinctes mais qui ont également été réalisés à des périodes différentes les unes des autres, nous avons souhaité prendre en compte cette question de la réadaptation et de la réinterprétation de l’événement traumatique.Nous avons souhaité montrer, à travers notre travail, comment les cinéastes adaptent un fait réel ou un ouvrage littéraire, en supprimant certains éléments ou en rajoutant, en adaptant la réalité historique pour en faire une fiction qui cherche à montrer une représentation du réel. Nous avons aussi et surtout démontré comment la notion de « traumatisme culturel » influence le travail des cinéastes qui se sont penchés sur l'héritage culturel qu'est l'esclavage. Nous avons souhaité voir dans quelle mesure cette notion de traumatisme culturel influe sur la création artistique filmique, et dans quelle mesure ses caractéristiques pouvaient s’appliquer à notre corpus. Quels en sont les aspects les plus représentés et prégnants ? Nous avons fait l’analyse de notre corpus dans un ordre chronologique de création, en premier lieu nous nous sommes penchés sur The Birth of a Nation de D.W. Griffith, sorti en 1915, puis nous avons analysé Amistad de Spielberg, sorti en 1997, pour finir avec l’étude de The Help, réalisé par Tate Taylor et sorti en salle en 2011.Pour chacun de ces films, nous avons étudié le contexte historique et géopolitique inhérent à l’époque représentée, puis, le passage de la réalité historique à l’œuvre de fiction, le processus d’adaptation cinématographique, (éléments fidèles, ajouts, simplifications et suppressions) pour analyser la globalité de chacun en regard de cette notion de traumatisme culturel. / Slavery in the USA has always been an interesting thematic to us. We have always wanted to learn more about it thus understanding how such a system could have been implemented for more than 200 years, have caused the division and a fracture in a nation, have led to the Civil War and have left permanent scars ont the United States of America. This particular interest led us to look into the concept of cultural trauma, and into its representation by three American film directors (D. W. Griffith, born in Kentucky in 1915, Steven Spielberg, born in Ohio in 1946 and Tate Taylor born in Mississippi in 1969), who picture at various distinct periods three different historical eras. We have considered the link existing between the physical reality of an event and its cinematographic representation, which is spatially or temporally distanced from the event. How can film directors faithfully represent historical reality ? How do (or don’t) they avoid to insert in their work personal or sociological filters ? How don’t they transform history, or shape it by not mentionning the elements that do not concur to the message one wants to deliver ? What if the director’s views are biased? How can the viewer be conscious of it and keep it in mind as he or she watches the film?Our work initiated from a reflexion upon the cultural and socialogical importance of the notion of cultural trauma in the cinematographic representation of slavery in the United States. The three movies we have chosen to work on are : The Birth of a Nation, (D.W. Griffith, 1915), Amistad (Steven Spielberg, 1997) and The Help (Tate Taylor, 2011). These films represent three distinct periods in the life of the American society since The Birth of a Nation pictures the progress of the American Civil War inside a Confederate family, Amistad is set between the years 1839 and 1841, and The Help takes place in the sixties, in Jackson, Mississippi.In choosing films that represent various historical periods and that have been directed at different periods of time, we wanted to take into account both the notions of re-adapting and re-interpreting the traumatic event. We have wished to demonstrate, through our work, how film directors adapt a real fact or a book by deleting some elements or adding some others, by adapting historical reality to turn it into a fiction showing a representation of reality. We have also tried to show how « cultural trauma » acts upon the audiovisual work of film directors who choose to picture the cultural heritage of slavery. We have analyzed to what extent cultural trauma has an influence on filmic creation and how its characteristics can be applied to our corpus. What aspects of it are most represented ?We have decided to analyze our corpus in a chronological order. We have started with D. W. Griffith’s The Birth of a Nation (1915), we have then analyzed S. Spielberg’s Amistad, (1997), and ended with T. Taylor’s (2011). For each of these films, we have first studied the historic and geopolitic contexts of the historical periods represented, we’ve then dealt with the transition from historical reality to fiction and we’ve analyzed the entirety of each movie compared to to the notion of cultural trauma. How and to what extent can it be found into these artitic works ? As a mass media, cinema has an educational role and we have demonstrated its link with cultural trauma.

Cette thèse étudie le problème de minoration de la hauteur canonique sur les courbeselliptiques. Son résultat diophantien principal utilise des méthodes d’intersectionarithmétique pour retrouver un résultat de Laurent, qui démontrait la conjecturede Lehmer pour les courbes elliptiques à multiplications complexes à un exposant" près, tout en explicitant complètement sa dépendance en divers paramètres liésà la courbe elliptique ; une telle démarche peut être motivée par la conjecture deLang, qui présage une minoration possible de la hauteur canonique proportionnelle,essentiellement, à la hauteur de Faltings de la courbe.Notre dissertation commence toutefois par une partie dédiée à l’explicitation duthéorème de densité de Chebotarev, qui reprend les grandes lignes d’un travail deLagarias et Odlyzko, et s’avère être cruciale dans notre approche du problème deLehmer elliptique. On obtient également des majorations des zéros de Siegel et de lanorme du plus petit idéal premier entrant en jeu dans le théorème de Chebotarev. / In this thesis we consider the problem of lower bounds for the canonical height onelliptic curves, aiming for the conjecture of Lehmer. Our main diophantine result isan explicit version of a theorem of Laurent (who proved this conjecture for ellipticcurves with CM up to a " exponent) using arithmetic intersection, enlightening thedependence with parameters linked to the elliptic curve ; such a result can be motivatedby the conjecture of Lang, hoping for a lower bound proportional to, roughly,the Faltings height of the curve.Nevertheless, our dissertation begins with a part dedicated to a completely explicitversion of the density theorem of Chebotarev, along the lines of a previous workdue to Lagarias and Odlyzko, which will be crucial to investigate the elliptic Lehmerproblem. We also obtain upper bounds for Siegel zeros, and for the smallest primeideal whose Frobenius is in a fixed conjugacy class.

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.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015 / Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas / Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained / Mestrado / Artes Visuais / Mestra em Artes Visuais

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第22870号 / 理博第4636号 / 新制||理||1666(附属図書館) / 京都大学大学院理学研究科数学・数理解析専攻 / (主査)准教授 伊藤 哲史, 教授 加藤 周, 教授 雪江 明彦 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DFAM

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Soient K/Qp une extension finie et GK le groupe de Galois absolu de K. Cette thèse est consacrée à l'étude de produits tensoriels cristallins (ou semi-stables, ou de de Rham, ou de Hodge-Tate) de représentations p-adiques de GK,, ainsi que de produits tensoriels triangulins de représentations p-adiques de GK. On étudie également la situation où l'image d'une représentation p-adique par un foncteur de Schur (tel Symn ou Λn) est cristalline (ou semi-stable, ou de de Rham, ou de Hodge-Tate). Les résultats présentés dans cette thèse sont énoncés pour les B-paires, et ils s'appliquent donc en particulier aux représentations p-adiques. / Let K/Qp be a finite extension and let GK be the absolute Galois group of K. This thesis is devoted to the study of crystalline (as well as semi-stable, de Rham, or Hodge-Tate) tensor products of p-adic representations of GK, as well as trianguline tensor products of p-adic representations of p-adic representations of GK. We also study the situation when the image of a p-adic representation by a Schur functor (for example, Symn or Λn) is crystalline (or semi-stable, or de Rham, or Hodge-Tate). The results presented in this thesis are stated for B-pairs, and apply in particular to p-adic representations.

Cette thèse d'algèbre commutative porte principalement sur la théorie de la profondeur. Nous nous efforçons d'en fournir une approche épurée d'hypothèse noethérienne dans l'espoir d'échapper aux idéaux premiers et ceci afin de manier des objets élémentaires et explicites. Parmi ces objets, figurent les complexes algébriques de Koszul et de Cech dont nous étudions les propriétés cohomologiques grâce à des résultats simples portant sur la cohomologie du totalisé d'un bicomplexe. Dans le cadre de la cohomologie de Cech, nous avons établi la longue suite exacte de Mayer-Vietoris avec un traitement reposant uniquement sur le maniement des éléments. Une autre notion importante est celle de dimension de Krull. Sa caractérisation en termes de monoïdes bords permet de montrer de manière expéditive le théorème d'annulation de Grothendieck en cohomologie de Cech. Nous fournissons également un algorithme permettant de compléter un polynôme homogène en un h.s.o.p.. La profondeur est intimement liée à la théorie des résolutions libres/projectives finies, en témoigne le théorème de Ferrand-Vasconcelos dont nous rapportons une généralisation due à Jouanolou. Par ailleurs, nous revenons sur des résultats faisant intervenir la profondeur des idéaux caractéristiques d'une résolution libre finie. Nous revisitons, dans un cas particulier, une construction due à Tate permettant d'expliciter une résolution projective totalement effective de l'idéal d'un point lisse d'une hypersurface. Enfin, nous abordons la théorie de la régularité en dimension 1 via l'étude des idéaux inversibles et fournissons un algorithme implémenté en Magma calculant l'anneau des entiers d'un corps de nombres. / This Commutative Algebra thesis focuses mainly on the depth theory. We try to provide an approach without noetherian hypothesis in order to escape prime ideals and to handle only basic and explicit concepts. We study the algebraic complexes of Koszul and Cech and their cohomological properties by using simple results on the cohomology of the totalization of a bicomplex. In the Cech cohomology context we established the long exact sequence of Mayer-Vietoris only with a treatment based on the elements. Another important concept is that of Krull dimension. Its characterization in terms of monoids allows us to show expeditiously the vanishing Grothendieck theorem in Cech cohomology.We also provide an algorithm to complete a omogeneous polynomial in a h.s.o.p.. The depth is closely related to the theory of finite free/projective resolutions. We report a generalization of the Ferrand-Vasconcelos theorem due to Jouanolou. In addition, we review some results involving the depth of the ideals of expected ranks in a finite free resolution.We revisit, in a particular case, a construction due to Tate. This allows us to give an effective projective resolution of the ideal of a point of a smooth hypersurface. Finally, we discuss the regularity theory in dimension 1 by studying invertible ideals and provide an algorithm implemented in Magma computing the ring of integers of a number field.