O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

Captured atmospheres - Rooms and interiors that tell a story in the absence of people är en undersökning av min konstnärliga praktik, återkommande teman, idéer och intressen samt bestående influenser. Genom en längre process där jag gick igenom många års samlande av texter, citat, bilder och idéer som har inspirerat och influerat mitt arbete, försökte jag skapa mig en överblick eller förståelse av denna samling och hur den reflekterar min konstnärliga praktik. I denna process valde jag ut de texter, citat och bilder som jag känner står mig närmast de ideér och verk som jag arbetat med under de senaste åren. Den utvalda samlingen kom att handla om atmosfär, stämningar, rumslighet, psykiska upplevelser, frånvaro och existens. Arbetet består av en Artist book-del där jag jobbat med att i en Artist book-format uttrycka de stämningar, atmosfärer och rumsupplevelser - som inspirerar mig och driver min konstnärliga praktik - med bilder, citat och texter från min samling. Den andra delen av arbetet består av en text där jag försöker uttrycka samma idéer och intressen i essäformat. / [I examensarbetet ingår utställningen "We have a visitor":] The exhibition - We have a visitor - is an installation based on the story of a murder case that was solved by PSI phenomena. A woman was murdered and the police had nothing to go on until another woman reported that she had been possessed by the murdered woman and gave details of the murder and the murderer that led to the case being solved. The installation shows two empty rooms; one through a large flat screen TV dropped on the floor displaying still images from a peculiar angle of a room environment, as if the camera (or somebody) is laying on the floor. A voice speaks to us, through the subtitles in the video, describing her own murder. The TV screen is placed on a piece of carpet cut in a shape emphasising the strange angle of the filmed room and points to a screen print on the wall displaying another angle of the same room. The viewer is standing in the portrayed room. The second room, projected onto a large temporary freestanding wall, display shots from a filmed bedroom, focusing on the top of the bed as if someone is laying there. Then, the camera pans to a window, as if expecting someone's arrival. Suddenly, the view drifts upwards, above the bed towards the ceiling. Next, a yellow entity takes over the image and the view descends back to the bed. The entity holds the space for a moment before vanishing as unexpectedly as it arrived. The installation deals with questions surroundng spatial atmospheres and if rooms and interiors somehow could hold or capture atmospheres or feelings after its subjects have left. Material/Teknik/Mått: Videoverk på monitor på specialskuren filtmatta, screentryck, videoprojection på fristående vägg och digitalt tryck. I anslutning till installationen visade jag ckså en Artist book med samma titel som installationen. Verk i utställningen: 1. They found my body (video installation 2013) 2. The room responded with a resounding silence (screentryck, 2013). 3. Room study (Possession) (Video projection, 2013). 4. Could not possibly be explained by normal means (digitalt tryck, 2013) / <p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. Tryckta publikationer finns tillgängliga på Kungl Konsthögskolans bibliotek. </p>

L’étude des mécanismes de production des quarkonia (J/ψ or Υ) dans les collisions proton-proton (pp) est intéressante car elle nécessite de prendre en compte les aspects perturbatifs et non perturbatifs de la ChromoDynamique Quantique (QCD). La production de quarkonia en fonction de la multiplicité des particules chargées a été mesurée pour la première fois dans les collisions pp avec le détecteur ALICE au Grand collisionneur de hadrons (LHC). Ces mesures présentent une corrélation non triviale qui peut conduire à une meilleure compréhension du mécanisme d’interaction partonique multiple dans l’état initial de la collision ainsi que des effets collectifs possibles dans les petits systèmes. L’étude du dernier échantillon de données enregistré au LHC en collisions pp aux énergies les plus élevées jamais atteintes en laboratoire (√s=13 TeV) permettra d’étudier des événements à forte multiplicité. Avec ALICE, les quarkonia sont mesurés jusqu’à des impulsions transverses nulles. Les charmonia (J/ψ, cc̄ ) sont détectés par leur désintégration en diélectrons à mi-rapidité (|y|< 0.9) et en dimuons en rapidité vers l’avant (2.5 < y < 4). Les bottomonia (Υ, bb̄) sont détectées par leur décroissance en dimuons en rapidité vers l’avant. La multiplicité des particules chargées est mesurée à l’aide de segments de traces avec le détecteur de silicium à pixels pour |η|< 1. Dans cette thèse, nous présenterons les premières mesures réalisées avec ALICE des productions relatives d’Υ(1S) et Υ(2S) en fonction de la multiplicité des collisions pp à √s =13 TeV. Nous discuterons du rapport relatif des Υ(2S) par rapport aux Υ(1S) en fonction de la multiplicité des particules chargées. La comparaison entre les J/ψ et les Υ(1S) mesurés en rapidité avant en fonction de la multiplicité sera également examinée. Ces études permettront d’examiner la dépendance possible de la corrélation mesurée avec les différentes masses des quarkonia considérés et les différents types de contenus en quark. La dépendance du domaine en rapidité et de l’énergie de la collision sera également considérée. / The study of quarkonium (J/ψ or Υ) in proton-proton (pp) collisions is interesting as both perturbative and non perturbative aspects of Quantum ChromoDynamics (QCD) are involved in the production mechanism. The quarkonium production as a function of charged-particle multiplicity has been measured in a pp collisions with ALICE detector at the Large Hadron Collider (LHC). They exhibit a non-trivial correlation that can lead to a better understanding of the multi-parton interaction mechanism in the initial state of the collision as well as possible collective effects in small systems. Thestudy of latest data sample recorded at the LHC in pp collisions at the highest collision energies everreached in the laboratory (√s = 13 TeV) will allow to investigate high multiplicity events. In ALICE,quarkonia are measured down to zero transverse momentum. Charmonia (J/ψ, cc̄) are detected viatheir decay into di-electrons at mid-rapidity (|y|< 0.9) and dimuons at forward rapidity (2.5 < y < 4).Bottomonia (Υ, bb̄) are detected via their decay into dimuons at forward rapidity. Charged-particlemultiplicity is measured using track segments in the silicon pixel detector in |η|< 1. In this thesis, we will present the first ALICE measurements of relative Υ(1S) and Υ(2S) productions as a function of multiplicity in pp collisions at √s =13 TeV. We will discuss the ratio of the relative Υ(2S) overΥ(1S) as a function of charged-particle multiplicity. The comparison between the relative J/ψ andΥ(1S) yields measured at forward rapidity as a function of multiplicity will also be discussed. This will provide insight of possible dependence of the measured correlation with different mass and quark contents as well as the evolution with rapidity range and the collision energy.

I denna uppsats analyseras spelen Howling Dogs och 16 Ways to Kill a Vampire at McDonalds ur ett narratologiskt perspektiv. Huvuddelen av analysen fokuserar på hur hypertextens mediala förhållanden påverkar relationen mellan spelaren och narrativet samt på förhållandet mellan berättare och lyssnarinstans. Analysen baserar sig på metoder med utgångspunkt i possible worlds theory, formulerat av Alice Bell. Uppsatsen exemplifierar hur man går till väga i analys av texter med ett starkt deiktiskt förhållande mellan texten och läsaren. Syftet är att undersöka existerande metoder och att förbättra dem, tillika en, möjligtvis naiv, förhoppning om att komma ett steg närmare ett större litteraturvetenskapligt intresse gällande vad spel kan tillföra litteraturvetenskapen. / This essay contains narratological analyses of the games Howling Dogs and 16 Ways to Kill a Vampire at McDonalds. The analyses are focused on the hypertext’s medial impact on the relations between user and narrative as well as narrator and narratee. The work is based on methods using possible worlds theory, created by theorists such as Alice Bell. A main purpose here is to further exemplify how to analyze texts having a deictic effect between themselves self and their readers. The purpose here is thus to test existing methods and further develop them. This purpose is also motivated by a, possibly naïve, hope of getting one step closer to a wider acknowledgement of how games can contribute to the subject of literature.

Call number: LD2668 .T4 1938 H63

Cette étude s'inscrit dans le cadre de la recherche de la formation d'un plasma de quarks et de gluons dans l'expérience STAR au RHIC. Elle concerne l'ajout d'un ensemble cylindrique de détecteurs en silicium, à micropistes, double face (SSD) au trajectographe interne du détecteur STAR. Cet ajout permet une amélioration globale de la trajectographie du détecteur STAR. Le SSD forme un cylindre de 1 m de long pour 23 cm de rayon et est composé de 320 modules compacts identiques. Les modules sont formés d'un détecteur, de 12 circuits de lecture ALICE 128C, de 12 rubans TAB, d'un circuit de contrôle COSTAR et de 2 circuits hybrides qui supportent l'ensemble des composants. La thèse montre le gain en performances physiques apportées par le SSD, ainsi que les différents choix technologiques, en particulier celui des détecteurs en silicium à micropistes, ainsi qu'une caractérisation des performances sous faisceau. Tous les composants sont décrits ainsi que leurs caractéristiques et l'ensemble des procédures de test qui ont été définie pour chacun des composants afin d'en établir la fonctionnalité et les propriétés. L'ensemble des données des composants et des tests est stocké dans une base de données. Les résultats obtenus pour la production des modules et de leurs composants sont présentés. Deux études parallèles ont été menées : l'une sur l'influence de la température environnementale, l'autre sur le réglage optimal des blocs analogiques du circuit ALICE 128C. L'installation du SSD sur le site de RHIC, sa mise en opération et les premières prises de données physiques sont présentées.

La physique des collisions d'ions lourds (ultra-)relativistes a pour objectif principal l'élaboration de l'équation d'état de la matière nucléaire par l'examen de ses propriétés dans des conditions extrêmes de température et de pression.<br />A basse énergie, les collisions d'ions lourds permettent de sonder la matière nucléaire modérément chaude à grande densité baryonique.<br />A haute énergie, la chromodynamique quantique prédit le déconfinement des constituants des hadrons en un plasma de quarks et de gluons.<br />La première partie de ce document est consacrée à l'étude de la production d'étrangeté dans les collisions d'ions lourds aux énergies du SIS avec le détecteur FOPI installé au GSI.<br />La deuxième partie de ce document est consacrée à l'étude de la production des saveurs lourdes dans les collisions d'ions lourds aux énergies du LHC avec le détecteur ALICE installé au CERN.

Scholarship has firmly established that the short story cycle is well-suited to representations of community. This study considers eight North American examples of the genre: four by Canadian authors Stephen Leacock, Duncan Campbell Scott, George Elliott, and Alice Munro; and four by American authors Sarah Orne Jewett, Sherwood Anderson, John Cheever, and Joyce Carol Oates. My original idea was to discover whether there were significant differences between the Canadian and American cycles, but ultimately I became far more interested in the way that all of the cycles address community formation and disintegration. The focus of each cycle is a small community, whether a small town, a village, or a suburb. In all of the examples, the authors address the small community as the focus of anxiety, concern, criticism, and praise, with special attention to the way in which, despite its manifold failings, the small community continues to inspire longings for the ideal home and source of identity. The narrative feature that ultimately provided the critical framework for the study is the recurring presence of the metropolis in all of the eight cycles. The city, set on the horizons of these small communities, consistently provides a backdrop against which author and characters seem to measure and understand their lives. Always an influence (whether for good or bad), the city’s presence is constructed as the other against which the small community’s identity is formulated and understood. The relationship between small community and city led me to an investigation into the mythology of the small community, a mythology that sets the small community in opposition to the city, portraying the former as the keeper of virtue and the latter as the disseminator of vice. The cycles themselves, as I increasingly discovered, challenge the mythology by identifying how the small community depends, in large part, on the city for self-understanding. The small community, however, as an idea, and a mythic ideal, is never dismissed as obsolete or irrelevant.

Defining rarity as a relative quality in matter roughly opposite to density, this dissertation focusses on the way material qualities of molecular gases, such as semi-opacity, permeation, and blending, inform modernist representations of embodied spatial experience. In modernist writing, rare matter—including air, fog, smoke, and haze—functions as an active component of the sensory environment, filling up the negative space that sets off subjects from objects, and characters from settings. Representing matter across the full range of the rarity-density spectrum allows modernist writers to challenge the ontological status of such boundaries, and to develop dynamic spatial models of the self-world threshold. The Introduction defines rare matter and examines its function as a sensory medium that can alternately define and blur subject/object boundaries. Interpreting dynamic thresholds as products of authorial activism, I argue that modernist narratives disrupt the normative constructions of the self-world boundary that prevailed in biomedical discourse around the turn of the century. Chapter 1, seeking to expand the scope of modernist object studies to include rare matter, analyzes illustrated books about London to demonstrate the increased cultural visibility of the atmosphere in the modernist period. Visual and verbal gestalt effects, modelled on the hermeneutic oscillation between looking at and looking through the fog, foreground the materiality of the atmosphere that fills up three-dimensional space, pressing up against the thresholds of the body and disrupting fixed distinctions between subjects and their surroundings. Chapter 2 shows how D. H. Lawrence harnesses the properties of rare matter to construct dynamic representations of the self-world boundary. In his early novels and his criticism, the oscillation between self-diffusion and self-differentiation expresses characters’ psychological responsiveness to changing interpersonal and ontological pressures. Chapter 3 demonstrates how Virginia Woolf takes advantage of rare attributes like permeation, fluid motion, and variable particle spacing to model process-oriented communities that incorporate dynamic shifts between social autonomy and collective identity. The Conclusion examines rare imagery in modernist scenes of narration, arguing that dynamic self-world thresholds help to articulate a responsive form of reader-text interaction that allows for the alternation of independent and collaborative reading practices.

Defining rarity as a relative quality in matter roughly opposite to density, this dissertation focusses on the way material qualities of molecular gases, such as semi-opacity, permeation, and blending, inform modernist representations of embodied spatial experience. In modernist writing, rare matter—including air, fog, smoke, and haze—functions as an active component of the sensory environment, filling up the negative space that sets off subjects from objects, and characters from settings. Representing matter across the full range of the rarity-density spectrum allows modernist writers to challenge the ontological status of such boundaries, and to develop dynamic spatial models of the self-world threshold. The Introduction defines rare matter and examines its function as a sensory medium that can alternately define and blur subject/object boundaries. Interpreting dynamic thresholds as products of authorial activism, I argue that modernist narratives disrupt the normative constructions of the self-world boundary that prevailed in biomedical discourse around the turn of the century. Chapter 1, seeking to expand the scope of modernist object studies to include rare matter, analyzes illustrated books about London to demonstrate the increased cultural visibility of the atmosphere in the modernist period. Visual and verbal gestalt effects, modelled on the hermeneutic oscillation between looking at and looking through the fog, foreground the materiality of the atmosphere that fills up three-dimensional space, pressing up against the thresholds of the body and disrupting fixed distinctions between subjects and their surroundings. Chapter 2 shows how D. H. Lawrence harnesses the properties of rare matter to construct dynamic representations of the self-world boundary. In his early novels and his criticism, the oscillation between self-diffusion and self-differentiation expresses characters’ psychological responsiveness to changing interpersonal and ontological pressures. Chapter 3 demonstrates how Virginia Woolf takes advantage of rare attributes like permeation, fluid motion, and variable particle spacing to model process-oriented communities that incorporate dynamic shifts between social autonomy and collective identity. The Conclusion examines rare imagery in modernist scenes of narration, arguing that dynamic self-world thresholds help to articulate a responsive form of reader-text interaction that allows for the alternation of independent and collaborative reading practices.