Zugl.: Erlangen, Nürnberg, Univ., Diss., 2009

Thesis (M.Arch.)--University of Hong Kong, 2001. / Includes special report study entitled : Analysis of interaction between the lands divided by a border. Includes bibliographical references. Also available in print.

Thesis (M.A.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 196-201).

<p> An implicit finite difference technique has been developed for the solution of the steady two dimensional boundary layer equations. </p> <p> The numerical method is free of stability limitations and similarity assumptions. Use has been made of Wu-type starting profiles which enable one to start the calculation from the leading edge. </p> <p> Attractive features of the technique are its simplicity, flexibility and applicability to a wide range of boundary layer problems. In addition, results obtained from several case studies indicate that the numerical procedure is both accurate and fast. </p> / Thesis / Master of Engineering (MEngr)

Respiratory tract diseases are of the most common infectious diseases among both children and adult population all over the world. Viruses are the most frequent cause of respiratory diseases. In healthy immunocompetent individuals respiratory infection proceeds mostly without major complications. Immunocompromissed hosts, for example patients after transplatation, are more susceptible to infection and even common infection may be life threatening for them. Human polyomaviruses KI (KIPyV) and WU (WUPyV) and human bocavirus (HBoV) are most frequently detected in the respiratory tract of patients with acute respiratory tract infection primarily in children and in immunosuppressed patients. However, clear causative link between presence of these viruses and the respiratory disease has not been established. In this retrospective study were tested by quantitative real-time PCR 822 (745 from adults and 77 from children) respiratory samples from 380 immunocompromissed patients included 326 adults and 54 children. Viruses were also detected in the 84 peripheral blood samples. The most frequently detected virus was HBoV (6,32 % positive pacients), followed by KIPyV (5,79 % positive pacients) and WUPyV (0, 53 % positive patients). Only HBoV was detected in blood samples. The study confirmed the presence of KI...

published_or_final_version / Architecture / Master / Master of Architecture

The aim of this thesis is to analyze the fictional and non-fictional literary works of two Taiwanese eco-environmental writers Liu Kexiang and Wu Mingyi in the context of the transformation of interpersonal sphere. Eco-environmental literature represents a significant literary trend that has been pursued in Taiwan at the end of the 20th century. It develops Taiwanese literary tradition in a new way through the reflection of Western and Eastern theories in the domestic context and Taiwanese cultural specifics from the perspective of natural history and scientific knowledge. The first part of the thesis summarizes academic discussions on the topic of eco- environmental literature. This is characterized by the initial insufficient theoretical basis of Taiwanese environmental studies, the desire to maintain this trend beyond purely literary criticism, the assumption of Western environmental discourse theories, and the involvement of writers themselves in theoretical discussions and the gradual shift to ecocriticism. It also puts it in a historical context and explores its dominant topics. The analytical part of the thesis is based on the theory of modernity of British sociologist Anthony Giddens. It analyzes works based on the sources of modernity, which are time-space distanciation, disembedding of...

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En 1999, un roman intitulé L’œil de Carafa et signé Luther Blissett connaît un vif succès. L'ouvrage présente la particularité de comporter une mention dite de “copyleft”, autorisant sa reproduction libre et gratuite. Derrière le pseudonyme se dissimule un collectif ouvert et international, porté par de nombreux artistes et activistes médiatiques, qui s'illustre également par diverses actions et happenings. Un an plus tard, les auteurs du roman créent un nouveau projet littéraire, sous le pseudonyme Wu Ming (“anonyme” en chinois). Le collectif prône la libre diffusion de l'écrit et à travers ses publications de théorie littéraire, il suscite la polémique dans le monde des lettres italiennes. En rupture avec la figure de l'écrivain qui s'est imposée depuis une trentaine d'années, Wu Ming prend appui sur le développement des nouvelles technologies, et plus particulièrement sur l'essor d’Internet, pour imposer une nouvelle conception de la création littéraire et de la diffusion des œuvres.L'analyse ici proposée interroge le caractère novateur du positionnement éthique et littéraire de Luther Blissett et de Wu Ming, en examinant leurs productions à l'aune de trois modèles de référence : l'avant-gardisme, le postmodernisme et la littérature engagée. En confrontant les engagements des deux collectifs à leur fonctionnement concret et, in fine, à leurs œuvres, elle vise à déterminer si les projets Luther Blissett et Wu Ming sont annonciateurs d'un changement de paradigme en littérature, rendu possible notamment par les nouveaux moyens de communication, ou si au contraire ces auteurs, en dépit de leurs singularités, s'inscrivent dans des schémas littéraires déjà existants. / In 1999, the novel Q, authored by Luther Blisset, enjoyed considerable success. One of its special characteristics is that it bears a copyleft notice allowing free reproduction of the work. Indeed, an open, international group artists and media activists hides behind this peculiar nom de plume and has distinguished itself at various public actions and happenings. About a year later, the authors of the novel set out a new project under the pseudonym Wu Ming (a Chinese translation of “anonymous”) and advocated free circulation of written works. Their publications in literary theory have given rise to controversy in the Italian literary circles. Breaking with the figure of the author that has reigned supreme over the past three decades, Wu Ming is building on new technologies and more specifically on the Internet in order to enforce a new conception of both literary creation and the circulation of works.This dissertation investigates the novelty of the ethical and literary position of Luther Blissett and Wu Ming and looks into their productions in relation to avant-gardism, postmodernism and littérature engagée. In cross-examining the stakes and functioning of both projects with their actual creations, we aim to determine whether Luther Blissett and Wu Ming are heralding a change in literary paradigm or if, in spite of their singularities, these authors do not actually fit into existing patterns

Cette étude se propose d’examiner les questions que soulève l'opéra de Pékin contemporain de Taïwan à travers deux exemples : Le Roi Lear mis en scène par Wu Hsing-Kuo et Orlando mis en scène par Robert Wilson. Ces deux spectacles en solo sont fondés sur des textes occidentaux traduits en chinois. Pour mettre en scène ces textes traduits, Wu Hsing-Kuo et Robert Wilson ont eu recours aux conventions et au jeu de l’acteur de l’opéra de Pékin. En dépit d’éléments similaires, les textes scéniques tissés par ces deux metteurs en scène diffèrent profondément. Dans le but de trouver une manière appropriée de décrire et d’analyser ce genre de spectacles métis qui sortent de leur cadre traditionnel, tout en gardant en même temps certains traits spécifiques, nous avons commencé par creuser les conceptions qui sous-tendent la forme de l’opéra chinois. Ensuite, nous avons approfondi les questions liées à la pratique ainsi que ses rapports avec les conceptions esthétiques chinoises. Dans la dernière partie de cette étude, nous nous appuyons essentiellement sur les conceptions développées dans les deux premières parties de cette thèse plutôt que sur les discussions sur la nature du théâtre interculturel pour les chercheurs occidentaux auxquelles se sont déjà référés beaucoup de chercheurs taïwanais. À travers l’analyse des deux spectacles, nous proposons une voie différente pour discuter des représentations « interculturelles », tels que les spectacles de l’opéra de Pékin contemporain de Taïwan, qui échappent aux règles et aux conventions bien établies et qui ne peuvent être jugés selon les standards habituels. / This thesis aims to examine the questions suggested by two contemporary Peking opera productions in Taiwan: “King Lear” directed by Wu Hsing-Kuo and “Orlando” by Robert Wilson. These two adaptations are both based on Western masterpieces and each of them is performed by one trained Peking opera actor. Despite the similarities that appear in the works of the Taiwanese and the American director, the results of their experimentations on the stage differ considerably between each other. In order to find appropriate way to describe and analyze this kind of performances based on the fusion of traditional as well as foreign elements, we started by researching the conceptions which associate deeply with the form of Chinese opera. Then, we delved further into the relations between the practice of Chinese opera and the Chinese aesthetics concepts. Finally, we analyzed the two examples, not through the discussions related to “intercultural theater” developed by occidental researchers and commonly referred to Taiwanese researchers, but through the conceptions that we have developed in the last two chapters of this thesis. Through this study, we expect to propose a different way to approach the theatrical productions that broke the routine and cannot be analyzed by the standard rules.