"Une étude de tomographie par émission de positons à été entreprit dans le but d'évaluer l'apprentissage d 'une version modifiée de la tâche de la Tour de Londres. Dix participants en bonne santé ont solutionné 90 problèmes de cette tâche, et des données fonctionnelles ont été recueillies à quatre niveaux de pratique. Lors de la performance initiale de la tâche, une augmentation du flot sanguin a été observée dans les régions dorsolatérales préfrontales, orbitofrontales, pariétales ainsi que dans le cervelet du côté gauche. Toutefois, l'apprentissage de la tâche était accompagné d'une diminution significative de l'activité cérébrale dans certaines régions orbitofrontales du cerveau, ainsi que d'une augmentation transitoire de l'activité dans le striatum ventral. Ces résultats suggèrent que cette forme d'apprentissage entraîne une réduction de l'activité dans les régions impliquées lors de la prise de décision, de l'estimation des réponses à effectuer, et de l'évaluation des rétroactions, ainsi qu'une augmentation dans les structures qui jouent un rôle important dans les mécanismes d'apprentissage reliés à la récompense et dans l'automatisation de nouveaux comportements appris."

This oral interpretation thesis analyzes the influences on Mark Twain's reading, traces his development as an oral interpreter, and studies his techniques for revising selections of his literature to make them more suitable for oral delivery. This study concentrates on Twain's 1884-1885 reading tour with George W. Cable because in that period Twain made his greatest advances as an oral interpreter. The impact that this tour had on Twain's later reading is also analyzed. It was discovered that the interpretation theories developed by Twain are consistent with contemporary theory and practice.

The problem of this study was a test of a specific videotape designed to influence the actions of tour guides for older adult groups. The purposes of the study were to observe guide performances and older adult responses before and after training in techniques for sharing information with older adults in public spaces. The hypotheses were tested. 1) Guides after training would exhibit significant differences in behaviors of pointing, repeating, pausing, questioning, conversing, facing art when talking, talking inaudibly, pacing rapidly. 2) Older adult drop-outs would decrease on tours with especially trained guides.

Nicolas Besnier (1686-1754) est le fils de François Besnier, chef du gobelet du roi, et d’Henriette Delaunay. Son oncle est Nicolas Delaunay et son parrain est Corneille Van Clève. Comme architecte, Nicolas Besnier fait le voyage en Italie de 1709 à 1712 ; étudiant à l’Académie de France à Rome, il obtient le premier prix d'architecture de l’Académie de Saint-Luc en 1711. Maître orfèvre en 1714, associé à Delaunay, logé aux galeries du Louvre à partir de 1718, il est nommé orfèvre du roi par un brevet en 1723. Il travaille pour la cour de France, notamment pour le remplacement de la vaisselle ordinaire du roi et pour les Affaires étrangères, ainsi que pour les comtes de Tarroca, de Pontchartrain, les duchesses de Retz, d'Harcourt, le maréchal de Castries, les ducs de Bouillon, de Levy, Horatio Walpole, Gaspard-César-Charles de Lescalopier, William Bateman, l'église Saint-Louis-en-l'ile, la cour de Wurtemberg, etc… Il devient échevin de la ville de Paris en 1729. A cette époque, il décide de collaborer avec son gendre Jacques Roëttiers de La Tour, à qui il laissera la conduite de son atelier d’orfèvre. De 1734 à 1753, il est directeur de la Manufacture royale de tapisserie de Beauvais. Il supervise la création de nouvelles tentures par Jean-Baptiste Oudry - Métamorphoses d'Ovide, Verdures fines -, par Charles Joseph Natoire - Histoire de don Quichotte - et par François Boucher - les Fêtes italiennes, Histoire de Psyché,Seconde tenture chinoise, les Amours des dieux, la Noble pastorale, les Fragments d'opéra ; cette période est vraiment « l'âge d'or » de la manufacture. Il quitte son logement aux galeries du Louvre en 1739 et il remet son poinçon d'orfèvre en 1744. / Nicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith.

No description available.

La presente tesi di dottorato è il primo studio complessivo sui rapporti di Alessandro Manzoni con la cultura anglosassone, considerati nelle due direzioni: da una parte, le possibili influenze della letteratura inglese sulle sue opere, dall’altra la fortuna dell’autore in Gran Bretagna e negli Stati Uniti nell’Ottocento. Manzoni, infatti, non fu complessivamente incompreso o ignorato nei paesi anglosassoni, come ritenevano alcuni studiosi. Al contrario: personaggi importanti del mondo letterario e culturale apprezzavano e citavano le sue opere, e le numerose traduzioni, recensioni, antologie e libri sull’Italia testimoniano che questo autore era noto tra il pubblico colto. Tra gli episodi più importanti della fortuna di Manzoni nell’Inghilterra vittoriana si possono ricordare: due recensioni di Mary Shelley, influenzata dalla prospettiva risorgimentale (che era in realtà ambivalente verso Manzoni); e un romanzo della scrittrice Charlotte Yonge, legata al movimento di Oxford, che apprezzava particolarmente "I promessi sposi" per i valori cristiani. Negli Stati Uniti, i pregi del romanzo erano riconosciuti da intellettuali attenti alla cultura italiana contemporanea, come Emerson e Margaret Fuller. / This dissertation is the first overall study on Alessandro Manzoni’s relationship with the English-speaking world, considered along both lines: possible influences from English literature on Manzoni’s works, and Manzoni’s reception in Great Britain and the United States in the XIXth century. Manzoni was not ignored or misunderstood in those countries, as some critics believed. On the contrary, distinguished men and women from the literary and cultural world read, liked and quoted his works. Indeed, the great number of translations, reviews, anthologies and books on Italy dealing with Manzoni testifies that the Italian author was well-known among the educated reading public. Two important episodes of Manzoni’s reception in Victorian England can be mentioned: two reviews by Mary Shelley, who was influenced by the issues of the Italian Risorgimento (not totally sympathetic with Manzoni); a novel by Charlotte Yonge, the novelist of the Oxford movement, who admired Manzoni’s "Promessi sposi" for its Christian values. In the United States, the merits of Manzoni’s work were acknowledged by Emerson and Margaret Fuller, who showed interest and consideration for the contemporary Italian culture.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Made available in DSpace on 2015-05-14T12:36:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13775909 bytes, checksum: a65f9a9446bb61eaf79c21106539a9be (MD5) Previous issue date: 2013-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This document presented the relationship between Digital TV - through their interactivity - and virtual tours, regarding the presentation of remote locations based on the methodology employed in virtual tours of Google Street View. Briefly expounded the evolution of some issues necessary for the proper understanding of the project as: Virtual Tour, Google Street View, Tourism and Digital TV, drawing parallels and points of encounter between these social and cultural phenomena, and present a reflection on using conceptual image at the expense of its use as a visual representation only. This research was presented a possible adaptation to the Digital TV visitation to remote places through 360° panoramic tours. As validation of the hypothesis, an application was developed for Digital TV containing a virtual tour to a museum in the light of the methods used to develop virtual tours to the internet in order to demonstrate their use successfully in this new platform. As a complement, a WEB system was developed able to generate this NCL application, suitable for Digital TV. / Este trabalho apresentou a relação entre a TV Digital - através de seus recursos de interatividade - e passeios virtuais, no que tange a apresentação de lugares remotos tendo como base a metodologia empregada nos passeios virtuais do Google Street View1. De forma resumida explanou a evolução de alguns temas necessários ao bom entendimento do projeto como: Passeio/Tour virtual, Google Street View, Turismo e TV Digital, traçando paralelos e pontos de encontro entre estes fenômenos sociais e culturais, além de apresentar uma reflexão sobre o uso da imagem conceitual em detrimento do seu uso como representação exclusivamente visual. Foi apresentado nesta pesquisa um formato possível de adaptação à TV Digital de visitação a lugares remotos através de Tours panorâmicos 360°. Como validação da hipótese levantada, um aplicativo foi desenvolvido para TV Digital contendo um passeio virtual a um museu à luz dos métodos utilizados para desenvolvimento de passeios virtuais para internet, a fim de demonstrar o seu uso com êxito nessa nova plataforma. Como complemento, foi desenvolvido um sistema WEB capaz de gerar essa aplicação no formato NCL, próprio para TV Digital.

Cette étude porte sur les systèmes défensifs d'une quarantaine de villes petites et moyennes, édifiés en Alsace centrale entre les XIIIe et XVe siècles, jusqu'à leur déclassement ou démantèlement définitif au XIXe siècle. Les ressources sollicitées sont de natures diverses : prospections des vestiges conservés, sondages archéologiques, documentation iconographique (plans, gravures, photographies anciennes), archives médiévales et modernes. Parmi ces dernières, une grande enquête sur l’état de conservation des enceintes des petites villes, bourgs et villages d’Alsace, initiée par le directeur des fortifications d’Alsace en 1779, livre un tableau exhaustif des systèmes fortifiés avant leur abandon. Les questions abordées portent sur les matériaux de construction, les diverses composantes de la défense (portes, murs, fossés, remparts...), les données topographiques et la chronologie des aménagements. Les enseignements majeurs, dans un domaine où seules les enceintes des grandes villes ont jusqu'à présent attiré l'attention, sont la diversité des réponses apportées au besoin de défense mais également des chronologies et types de structures qui n'ont rien à envier à ces grandes villes. Tout au moins jusqu'au XVIe siècle ; car sauf exception, ces villes petites et moyennes n'ont en effet pas pu prendre le virage du bastionnement des fortifications. Elles ont en revanche assez bien entretenu les structures héritées du Moyen Âge pour encore pouvoir être considérées comme des points d’appui dans la défense de la région par l'administration royale peu avant la Révolution. / This study deals with the defensive systems of three dozen small and middle-sized towns of central Alsace, from their building between the 13th and 15th Centuries, to their definitive dismantling during the 19th Century. Various resources were exploited : examination of existing remains, archaeological surveys, visual sources (maps, prints, old photographs), Middle Age and Modern period archives. The latter source included a major condition report on Alsace’s small cities, towns and villages, initiated by the province’s head of fortifications in 1779, which offers a complete overview of fortification systems before they were abandoned.The study addresses the questions of the construction materials used, the variety of defensive elements (doors, walls, moats, ramparts, etc.), topographical data and a chronology of their construction.The major teachings, in a field so far focused on large cities’ walls, are the broad range of solutions to the protective needs and the diversity of their chronology and layout models that are just as interesting as those of larger cities. This is noted until the 16th Century, when, with few exceptions, these small and middle-sized towns were not able toupgrade their defense to the level of bulwarks. Well maintained though, they were still seen as a major defensive support for the region by the royal administration, soon before the French revolution.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande. / Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting.