Titre de l'écran-titre (visionné le 14 août 2023) / Ce mémoire en recherche-création conceptualise les espaces liminaux pour matérialiser la dépression à l'écran dans un effort d'adapter au cinéma The Bell Jar (1963) de Sylvia Plath, un roman semi-autobiographique dans lequel Plath fait la chronique de sa dépression pendant ses premières années à l'université. Le mémoire consiste en un essai qui explore comment les espaces liminaux peuvent être conceptualisés à l'écran pour matérialiser ce qu'on ressent physiquement et émotionnellement lorsqu'on est en dépression, ainsi qu'un « volet création » composé de cinq séquences et d'une scène d'un scénario adapté du roman The Bell Jar. La partie recherche est divisée en deux chapitres. Le premier présente la liminalité et les espaces liminaux tels qu'ils sont théorisés dans les Rites de passage (1909) d'Arnold van Gennep et offre un aperçu de la dépression dans The Bell Jar. Le deuxième chapitre présente trois approches originales pour conceptualiser les espaces liminaux afin qu'ils rendent la dépression plus accessible dans un format cinématographique. Nous expliquons ici la théorie qui sous-tend la matérialisation de la dépression à l'écran et décrivons comment elle se traduit à l'écran à l'aide d'extraits du roman. Le « volet création » du mémoire consiste en une partie d'un scénario : cinq séquences de scènes et une scène seule (scène 5) illustrant comment chaque théorie facilite la matérialisation de la dépression à l'écran. Ce « volet création » est imbriqué dans la partie recherche afin de mieux illustrer comment la théorie, le scénario et la cinématographie de la scène s'emboîtent. Le scénario illustre comment la conception théorique des espaces liminaux se traduirait dans un format filmique. Les deux scènes scénarisées pour chaque approche théorique sont ensuite analysées en fonction de la théorie présentée. Chaque section se focalise sur une approche théorique et explique comment elle informe l'esthétique de l'espace liminal dans les scènes ou séquences. Étant donné que l'objectif du mémoire est de conceptualiser les espaces liminaux, le scénario sera plus descriptif de ses éléments visuels à l'écran que riche de ses dialogues. Le mémoire cherche à présenter une approche plus nuancée de la représentation de la dépression à l'écran que ce que nous avons l'habitude de voir au cinéma. La dépression au cinéma est souvent explorée à des fins de narration, ou secondaire à l'enjeu principal (Side Effects, The Virgin Suicides, Little Miss Sunshine), ou fait partie d'une critique plus large sur des enjeux de société (Prozac Nation, Girl Interrupted). Certains de ces films traitant de la dépression présentent une esthétique et des techniques cinématographiques qui indiquent une volonté d'extérioriser les émotions complexes du personnage à l'écran sans avoir recours à des dispositifs linguistiques tels que la narration en voix off. Un objectif fisheye, « objectif photographique ayant une distance focale très courte et donc un angle de champ très grand » (Ang, Toute la photo, 150), est parfois utilisé pour matérialiser la tristesse, l'engourdissement, ou pour désorienter le spectateur. Ce mémoire s'éloigne de ces représentations de la dépression au cinéma et explore comment les espaces liminaux au cinéma peuvent matérialiser les émotions complexes et parfois incongrues qu'Esther éprouve dans The Bell Jar. Les scènes scénarisées dans la partie création brossent le portrait d'une maladie qui influence le processus cognitif et le rapport qu'à le personnage avec son environnement. Nous avons développé trois approches différentes pour conceptualiser les espaces liminaux à l'écran, chacune visant à élucider différentes facettes de la dépression d'Esther. Les deux premières explorent la désorientation, un symptôme moins préjudiciable, tandis que la troisième approche tente de matérialiser les idées suicidaires du personnage. Ce mémoire met en évidence la capacité du cinéma à transmettre des nuances sensorielles et émotionnelles, et s'ancre dans une conviction défendue par les études cinématographiques selon laquelle la représentation mène à la démocratisation, ce qui, dans le cadre de ce travail, équivaut à une meilleure compréhension de la dépression. / This mémoire en recherche-création conceptualizes liminal spaces to materialize depression on-screen through an adaptation of Sylvia Plath's The Bell Jar (1963), a semi-autobiographical novel in which Plath chronicles her depression during her early college years. The thesis consists of an essay that explores how liminal spaces can be conceptualized on-screen to materialize depression on a physical and an emotional level, as well as a « volet création » consisting of five sequences and one scene of a screenplay adapted from the novel The Bell Jar. The essay is divided into two chapters. The first introduces liminality and liminal spaces as they are theorized in Arnold van Gennep's Rites of passage (1909) and provides an overview of depression in The Bell Jar. The second chapter presents three original approaches to conceptualizing liminal spaces so that they render depression more accessible through a cinematic format. In this chapter, I explain the theoretical basis behind materializing depression on-screen and then, I describe how it translates on-screen using excerpts from the novel. The creative section of the thesis consists of a partial screenplay: five sequences and one single scene (scene 5) illustrating how each theory can help materialize depression on-screen. This « volet création » is interwoven with the research section to better illustrate how the theory, screenplay, and cinematography of the scene fit together. The screenplay illustrates how the theoretical conception of liminal spaces would translate to a filmic format. The two scenes scripted for each theoretical approach are then analyzed in terms of the theory presented. Each section focuses on a theoretical approach and explains how it informs the aesthetics of the liminal space in the scenes or sequences. Given the thesis's objective in conceptualizing liminal spaces, the screenplay will be more descriptive of its on-screen visual elements than rich in dialogue. The thesis seeks to present a more nuanced approach to the representation of depression on-screen than what we are used to seeing in cinema. Depression in film is often explored for narrative purposes, or secondary to the main thematic (Side Effects, The Virgin Suicides, Little Miss Sunshine), or as part of a broader critique of social or political issues (Prozac Nation, Girl Interrupted). Some of these films that engage with depression display an aesthetic and cinematographic techniques that indicate a desire to exteriorize the character's complex feelings on-screen without resorting to linguistic devices such as voice-over narration. A fisheye lens, « an ultra-wide-angle lens that produces strong visual distortion intended to create a wide panoramic or hemispherical image » (Ang, Fundamentals of Modern Photography, 146), is sometimes used to materialize sadness, numbness, or to disorient the viewer. This thesis departs from such representations of depression in film and explores how liminal spaces in film can materialize the complex and sometimes incongruous emotions Esther experiences in The Bell Jar. The scenes in the « volet création » depict an illness that influences the character's cognitive process and her relationship with her surroundings. We have developed three different approaches to conceptualizing liminal spaces on-screen, each approach aiming to elucidate different facets of Esther's depression. The first two explore disorientation, a less detrimental symptom, while the third approach attempts to materialize suicidal ideation. This thesis highlights the capacity of cinema to convey sensory and emotional nuances and is rooted in a belief held within cinema studies that representation leads to democratization, which, in our framework, equates to a better understanding of depression.

Non-locality and contextuality are key features of quantum mechanics that distinguish it from classical physics. We aim to develop a deeper, more structural understanding of these phenomena, underpinned by robust and elegant mathematical theory with a view to providing clarity and new perspectives on conceptual and foundational issues. A general framework for logical non-locality is introduced and used to prove that 'Hardy's paradox' is complete for logical non-locality in all (2,2,l) and (2,k,2) Bell scenarios, a consequence of which is that Bell states are the only entangled two-qubit states that are not logically non-local, and that Hardy non-locality can be witnessed with certainty in a tripartite quantum system. A number of developments of the unified sheaf-theoretic approach to non-locality and contextuality are considered, including the first application of cohomology as a tool for studying the phenomena: we find cohomological witnesses corresponding to many of the classic no-go results, and completely characterise contextuality for large families of Kochen-Specker-like models. A connection with the problem of the existence of perfect matchings in k-uniform hypergraphs is explored, leading to new results on the complexity of deciding contextuality. A refinement of the sheaf-theoretic approach is found that captures partial approximations to locality/non-contextuality and can allow Bell models to be constructed from models of more general kinds which are equivalent in terms of non-locality/contextuality. Progress is made on bringing recent results on the nature of the wavefunction within the scope of the logical and sheaf-theoretic methods. Computational tools are developed for quantifying contextuality and finding generalised Bell inequalities for any measurement scenario which complement the research programme. This also leads to a proof that local ontological models with `negative probabilities' generate the no-signalling polytopes for all Bell scenarios.

Thesis (MScEng)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Various design guidelines have been published over the past four decades to calculate the minimum submergence required at pump intakes to prevent vortex formation. These design guidelines also require the suction bell to be located not higher than 0.5 times the suction bell diameter (D) above the floor. Sand trap canals are an integral part of large river abstraction works, with the pump intakes located at the end of the sand trap canals. The canals need to be flushed by opening a gate, typically 1.5 m high, that is located downstream of the pump intake. This requires the suction bell be raised to not interfere with the flushing operation, which leads to the question – what impact does the raising of the suction bell have on the minimum required submergence? A physical hydraulic model constructed at 1:10 scale was used to determine the submergence required to prevent types 2, 5 and 6 vortices for prototype suction bell inlet velocities ranging from 0.9 m/s to 2.4 m/s, and for suction bells located at 0.5D, 1.0D and 1.5D above the floor. The tests were undertaken for four suction bell configurations with a conventional flat bottom suction bell, fitted with a long radius bend, being the preferred suction bell configuration in terms of the lowest required submergence levels. The experimental test results of the preferred suction bell configuration were compared against the published design guidelines to determine which published formula best represents the experimental test results for raised pump intakes. It became evident from the experimental test results that the required submergence increased markedly when the suction bell was raised higher than a certain level above the floor. It was concluded that this “discontinuity” in the required submergence occurred for all the suction bell configuration types when the ratio between the prototype bell inlet velocity and the approach canal velocity was approximately 6.0 or higher. It is recommended that, for pump intakes with a similar geometry to that tested with the physical hydraulic model, critical submergence is calculated using the equation published by Knauss (1987), i.e. S = D(0.5 + 2.0Fr), if the prototype bell inlet velocity/approach canal velocity ratio is less than 6.0, and that the equation published by the Hydraulic Institute (1998), i.e. S = D(1 + 2.3Fr), can be used where the ratio, as determined with Knauss’ (1987) equation, exceeds 6.0. It is also recommended that prototype bell inlet velocities be limited to 1.5 m/s. / AFRIKAANSE OPSOMMING: Oor die afgelope vier dekades is verskeie ontwerpriglyne vir die berekening van minimum watervlakke, om werwelvorming by pompinlate te voorkom, gepubliseer. Hierdie ontwerpriglyne vereis dat die klokmond van die pompinlaat nie hoër as 0.5 keer die deursnee van die klokmond (D) bokant die kanaalvloer geleë moet wees nie. Sandvang kanale vorm ‘n integrale deel van groot riveronttrekkingswerke, met pompinlate wat aan die einde van hierdie kanale geleë is. Die kanale word aan die stroomaf kant van die pompinlaat voorsien met sluise sodat die kanale gespoel kan word. Hierdie sluise is tipies 1.5 m hoog. Dit is derhalwe nodig om die hoogte onder die klokmond dieselfde te maak as die hoogte van die sluis sodat die klokmond die spoelwerking nie beïnvloed nie. Die vraag is egter – wat is die impak op die minimum vereiste watervlakke indien die klokmond op ‘n hoër vlak installeer word? ‘n Fisiese hidrouliese model met ‘n 1:10 skaal is gebruik om die minimum watervlakke te bepaal waar tipes 2, 5 en 6 werwels aangetref word vir prototipe inlaatsnelhede van 0.9 m/s tot 2.4 m/s en klokmond hoogtes van 0.5D, 1.0D en 1.5D bokant die kanaalvloer. Vier klokmond konfigurasies is getoets. Die minimum vereiste watervlakke was die laagste vir die tradisionele plat klokmond met ‘n lang radius buigstuk en was dus die voorkeur klokmond. Die eksperimenttoetsresultate vir die voorkeur klokmond is met die gepubliseerde ontwerpriglyne vergelyk om te bepaal watter van die ontwerpsriglyne van toepassing sal wees vir verhoogde klokmond installasies. Uit die eksperimenttoetsresultate is dit duidelik dat die vereiste watervlakke skielik verhoog sodra die klokmond installasie ‘n seker hoogte bokant die kanaal vloer oorskry. Daar is bevind dat hierdie verskynsel by al vier klokmond konfigurasies voorkom sodra die verhouding tussen die prototipe klokmond inlaatsnelheid teenoor die snelheid in die kanaal hoër as 6.0 is. Daar word aanbeveel dat die minimum vereiste watervlak vir pompinlate met dieselfde geometrie as die fisiese model, met Knauss (1987) se vergelyking bereken word, naamlik S = D(0.5 + 2.0Fr), waar die snelheidsverhouding tussen die klokmond en kanaal 6.0 nie oorskry nie, en dat die vergelyking gepubliseer deur die Hydraulic Institute (1998), S = D(1 + 2.3Fr), gebruik word waar die snelheidsverhouding 6.0, so bereken met Knauss (1987) ser vergelyking, wel oorskry. Die prototipe klokmond inlaatsnelheid moet ook beperk word tot 1.5 m/s.

The enlightenment period is often considered a dark age within the history of medicine. Contrary to this sentiment, I argue that the enlightenment spirit of inquiry regarding venereal disease was vibrant, dynamic, and profoundly influenced how syphilis was understood in the subsequent century. Historiography frequently minimises advances of medical knowledge made in the eighteenth century by focusing on the inefficacy of treatments, rather than on developments in medical theories and concepts. This thesis attends to this gap by examining a case study within venereology to demonstrate that physicians engaging in public debate significantly advanced knowledge of syphilis. In doing so, this counters a historiographical trend that claims that French physician Philippe Ricord (1800-1889) was the first to distinguish syphilis from gonorrhoea in the nineteenth century. It uses historical evidence to show that the nature of syphilis was debated throughout the preceding centuries and that this distinction was clearly established in 1793 by Scottish surgeon, Benjamin Bell (1749-1806). This thesis uses the epistemic concepts devised by Ludwik Fleck in his Genesis and Development of a Scientific Fact (1979 [1935]) to illustrate how enlightenment ways of thinking substantially contributed to the development of modern medicine. This thesis therefore invites a reconsideration of the era, not as a dark age, but as a rich period of scientific endeavour.

This dissertation explains how and why some American artists investigated visual phenomena and heightened perception during the 1960s and 1970s. As an analytical account grounded in the perceptual experience of artworks and in archival research of the claims artists made for their creations, this study is centered around the themes of re-sensitizing one’s body and perceptual faculties, the process of empirical discovery, and the ultimate inability of language to satisfactorily describe sensory phenomena. In Chapter 1, I establish a brief intellectual history of research concerning the sensory faculties from fields in the humanities, including psychology, philosophy, and art history. In Chapter 2, I analyze Judd’s art-critical concept of optical phenomena and consider the art about which he wrote, including his own, on the basis of this tentative classification. In Chapter 3, I evaluate John Chamberlain’s lacquer paintings in terms of the visual phenomena generated by his innovative paint mixtures and application techniques, then consider his provisional separation of intuition and intellect. In Chapter 4, I examine Robert Irwin’s efforts to refine his visual attentiveness and, in the course of doing so, I also test the accompanying artworks he made that demand such unusually acute observation. In Chapter 5, I argue that distinguishing physical, pictorial, and reflected visual phenomena in Larry Bell’s pieces proves to be an exceptional challenge, a problem compounded by the inefficacy of trying to communicate visual discoveries using language. In the Conclusion, I demonstrate that by restoring the role of heightened perception and sensory discovery to the history of art of the 1960s and 1970s, this dissertation helps to preserve the complexity and variety of works made during that time. / text

Les instabilités fluides peuvent dégrader le confinement du plasma au sein des tokamaks. Étant données les échelles spatio-temporelles, on choisit les modèles fluides obtenus à partir de la dérivation des modèles cinétiques. On dérive plusieurs modèles hiérarchiques de la MagnétoHydroDynamique (MHD) et en particulier les modèles de la MHD réduite du Current Hole et de l'équilibre de Grad-Shafranov. Une des difficulté de l'ensemble de ces modèles est de respecter l'équation modélisant l'absence de monopôles magnétiques. Pour assurer cette condition en tout point du domaine, le champ magnétique est réécrit avec un potentiel vecteur. L'utilisation de potentiels fait apparaître des équations faisant intervenir des dérivées d'ordre supérieurs. La stratégie numérique développée est l'utilisation de la méthode des éléments finis avec des éléments C1 de Bell. Sur un maillage non structuré, ces éléments ont l'intérêt de présenter une base réduite définir exclusivement avec des variables aux noeuds du maillage. Les modèles de MHD réduite du Current Hole et de Grad-Shafranov ont été résolus avec ces éléments. La résolution du cas test de Grad-Shafranov avec les conditions de bords exactes a permis d'obtenir l'ordre optimale de 5. La résolution du système du Current Hole avec ces éléments, validée par l'obtention du paramètre η1/3, a permis l'observation de développement d'instabilités en dents de scies. / Fluid instabilities can degrade plasma confinement in tokamaks. Given the spatial and temporal scales, we choose the fluid models obtained from the derivation of kinetic models. We derived several hierarchical models of MagnetoHydroDynamic (MHD) and in particular models of reduced MHD like the Current Hole and the Grad-Shafranov equilibrium. One of the difficulty of all these models is to respect the absence of magnetic monopoles equation. To ensure this condition at any point, the magnetic field is rewritten with a vector potential. The use of vector portential implies that higher order derivatives appear in the equation. The numerical strategy is developed using the finite element method with C1 Bell's elements. On a unstructured mesh, these have the advantage to present a reduced basis with degrees of freedom defined exclusively on the nodes of the mesh. The reduced MHD models of the Current Hole and Grad-Shafranov have thus been resolved with these elements. The resolution of a Grad-Shafranov test case with exact boundary conditions yields the optimal order of 5. The resolution of the Current Hole system with thesse elements has been validated by obtaining physical parameter η1/3 and allowed the observation of the development of sawtooth instabilities.

This essay aims to investigate the representations of inner Eurasia’s indigenous religions in the texts of west Europeans from the Age of Reason. Primary sources for the study are texts of John Bell, Lorenz Lange, Anders Pihlström and Philip Johan Tabbert von Strahlenberg. The inquiry attempts to map correlations between the authors’ positions, attitudes and their representations of the local religious traditions. Since the theoretical starting point for this study is discourse analysis from the perspective of historiography and sociology of knowledge, the investigated phenomenon is placed in a system of background factors, or dispositifs, which include aspects of epistemology and colonialism. The conclusion of this inquiry is that all authors constitute the indigenous religions in the discourse of heathendom but do so in a variety of ways employing different patterns of interpretation.

This thesis is an annotated and edited typescript of a primary source, the handwritten diary of Chriss A. Bell, of the Second Oregon Volunteer Infantry state militia. The diary concerns the events of Oregon's National Guard state militia in the Spanish-American war in the Philippines, and the Philippine Insurrection that followed. The period of time concerned is from the beginning of May, 1898 to the end of June, 1899.

Traditional ritual studies approaches to the body are effective for illuminating how the body functions as an entity that absorbs and expresses a variety of social, and political dynamics; however, they are less productive for understanding the body as a physical organism. This interdisciplinary thesis applies theoretical models from cognitive science, social psychology and ritual studies to the Śrī Cakra Pūjā in order to develop a more complete understanding of the ritual body as a physical body. Using Lawrence Barsalou’s theory of embodied cognition, which focuses on the impact of human experiences on the creation and integration of neural pathways, this essay, argues that Śrī Cakra Pūjā affects the mind by shaping the neural architecture of the brain. This cognitive perspective on religious ritual practice is compared with the more traditional ritual studies approach of Catherine Bell in an effort to provide a more complete understanding of the religious ritual body, brain and mind.

Helicopters have now become an essential part for civil and military activities, for the next few years a significant increase in the use of this mean of transportation is expected. Unlike many fixed-wing aircraft, helicopters have no need to be pressurized due to their operating at low altitudes. The Environmental Control Systems (ECS) commonly used in fixed-wing aircraft are air cycle systems, which use the engine compressor’s bleed flow to function. These systems are integrated in the aircraft from inception. The ECS in helicopters is commonly added subsequently to an already designed airframe and power plant or as an additional development for modern aircraft. Helicopter engines are not designed to bleed air while producing their rated power, due to this a high penalty in fuel consumption is paid by such refitted systems. A detailed study of the different configurations of ECS for rotorcraft could reduce this penalty by determining the required power resulting from each of the system configurations, and therefore recommend the most appropriate one to be implemented for a particular flight path and aircraft. This study presents the conducted analysis and subsequent simulation of the environmental control system in a selected representative rotorcraft: the Bell206L-4. This investigation seeks to optimize the rotorcraft’s power consumption and energy waste; by taking into consideration the cabin heat load. It consequently aims to minimize these penalties, achieving passenger comfort, an optimally moist air for equipment and a reduction in the environmental impact. For the purpose of this analysis a civil aircraft was chosen for a rotary-wing type. This helicopter was analysed with different air-conditioning packs complying with the current airworthiness requirements. These systems were optimized with the inclusion of different environmental control models, and the cabin heat load model, which provided the best air-conditioning for many conditions and mission scopes, thus reducing the high fuel consumption in engines and hence the emission of gases into the environment. Each of the models was computed in the Matlab-simulink® software. Different case studies were carried out by changing aircraft, the system’s configurations and flight parameters. Comparisons between the different systems and sub-systems were performed. The results of these simulations permitted the ECS configuration selection for optimal fuel consumption. Once validated the results obtained through this model were included in Rotorcraft Mission Energy Management Model (RMEM), a tool designed to predict the power requirements of helicopter systems. The computed ECS model shows that favourable reductions in fuel burn may be achievable if an appropriated configuration of ECS is chosen for a light rotorcraft. The results show that the VCM mixed with engine bleed air is the best configuration for the chosen missions. However, this configuration can vary according to the mission and environment.