Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Submitted by (edna.saturno@ufrpe.br) on 2016-10-11T17:01:42Z No. of bitstreams: 1 Jacqueline Loureiro Angelim.pdf: 1021168 bytes, checksum: 196071628f9b10ff3bc708fe300d4091 (MD5) / Made available in DSpace on 2016-10-11T17:01:42Z (GMT). No. of bitstreams: 1 Jacqueline Loureiro Angelim.pdf: 1021168 bytes, checksum: 196071628f9b10ff3bc708fe300d4091 (MD5) Previous issue date: 2012-02-29 / The pulmonary lobectomy technique can be used on the lung cancer, lung lobe torsion, pulmonary laceration and lung abscesses treatment and among the postoperative problems the bronchial stump dehiscence, prolonged air leak and development of bronchopleural fistula are highlighted. These problems are usually resulting from malocclusion of the bronchial stump and most of the times the treatment for those problems consists on a new surgical procedure to reopen the chest cavity. The ain of the present paper was to evaluate the efficiency of n-butyl cyanoacrylate and nylon brassard as methods for occlusion of the bronchial stump and the aerostasia maintenance, comparing it with the manual suture technique on an experimental model using pig tracheobronchial trees, submitted to increasing levels of positive intrabrochial pressure. 30 pig tracheobronchial trees were used, where eight lobar bronchi from each piece were selected for studying, four of 10 mm and four of 5 mm. Thereafter, the trees and their bronchi were equally distributed into three experimental groups: Suture Group (SG) – manual suture with simple isolated stitches, using nº 2,0 surgical nylon; Cyanoacrylate Group (CG) - n-butyl Cyanoacrylate and Brassard Group (BG) – nylon brassards. After the bronchial stumps occlusion, the pieces were immersed in water and the “tire fitter test” was made placing the positive intrabrochial pressure at 30 cm of H2O for five minutes, and then gradually increased to a pressure at 100 cm of H2O. Leaks with a percentage of 1, 25% (1/80) were observed on groups SG and BG, when respectively submitted to a pressure at 30 cm of H2O and 100 cm of H2O. There were no leaks in any bronchial stumps on group CG. There were no statistically significant differences among the three treatments. It was concluded that, both n-butyl Cyanoacrylate such as nylon brassard, as also the manual suture, are effective methods for implementation and maintenance of bronchial aerostasia. / A técnica de lobectomia pulmonar pode ser utilizada para tratamento de neoplasias pulmonares, torção do lobo pulmonar, laceração pulmonar e abscessos pulmonares e dentre as complicações pós-operatórias, destacam-se a deiscência do coto brônquico, escape aéreo prolongado e desenvolvimento de fístula broncopleural. Esses problemas geralmente são decorrentes da má oclusão do coto brônquico e na maioria das vezes o tratamento consiste na realização de um novo procedimento cirúrgico com reabertura da cavidade torácica. Com o presente trabalho, objetivou-se avaliar a eficácia do n-butil cianoacrilato e da braçadeira de náilon como métodos para oclusão do coto brônquico e manutenção da aerostasia, comparando-o com a técnica de sutura manual, em modelo experimental empregando árvores traqueobrônquicas de suínos, submetidas a crescentes níveis de pressão positiva intrabrôquica. Foram utilizadas 30 árvores traqueobrônquicas, onde oito brônquios lobares de cada peça foram selecionados para estudo, sendo quatro de 10 mm e quatro de 5 mm. Posteriormente, as árvores e respectivos brônquios foram distribuídos equitativamente em três grupos experimentais: Grupo Sutura (GS) – sutura manual com pontos isolados simples, utilizando náilon cirúrgico n0 2.0; Grupo Cianocrilato (GC) - n-butil cianoacrilato e Grupo Braçadeira (GB) – braçadeiras de náilon. Após a oclusão dos cotos brônquicos, as peças foram imersas em água e realizado o teste de hermeticidade empregando-se pressão positiva intrabronquial de 30 cm de H20 por cinco minutos, sendo em seguida, gradualmente aumentada até atingir a pressão de 100 cm de H2O. Nos grupos GS e GB foram observados vazamentos com percentual de 1,25% (1∕80), quando submetidos a uma pressão de 30 cm de H20 e 100 cm de H20, respectivamente. No grupo GC não foi constatado vazamento em nenhum dos cotos brônquicos. Não foram evidenciadas diferenças estatísticas significativas entre três os tratamentos. Conclui-se que tanto o n-butil cianoacrilato, como a braçadeira de náilon, igualmente à sutura manual, são métodos eficazes na execução e manutenção da aerostasia bronquial.

La pièce de théâtre La trilogie des dragons est le fruit du work in progress de six créateurs : Marie Brassard, Jean Casault, Lorraine Côté, Marie Gignac, Robert Lepage et Marie Michaud. Ce mémoire se penche sur le texte final qui a été publié en 2005, soit vingt ans après la création du spectacle. À l'aide d'un bassin théorique divers qui convoque l'analyse du texte de théâtre de Michel Pruner, les théories de la pragmatique de la communication et de la systémique, cette étude vise à mettre en lumière cinq axes : Ici structure de l'action dramatique (la fable, l'intrigue et l'action), le réseau des personnages, le temps, l'espace et finalement, le thème de la rencontre des cultures qui témoigne d'une ouverture graduelle à l'Autre et à l'Ailleurs. Cette "pièce-paysage" met en place un système riche et intelligent qui réquisitionne l'implication du lecteur afin que celui-ci décrypte les indices prémonitoires et les ramifications du texte.

Ce mémoire se penche sur l’évolution des stratégies d’autoreprésentation et d’autofictionnalisation dans cinq solos de Marie Brassard entre 2000 et 2011 – Jimmy, créature de rêve, La noirceur, Peepshow, L’invisible et Moi qui me parle à moi-même dans le futur. L’objectif de cette étude est d’analyser comment les masques vocaux contribuent au dévoilement de soi et produisent de ce fait un sentiment d’intimité malgré l’alternance des effets d’identification et de distanciation qu’ils suscitent. Le premier chapitre montre que, par l’ouverture du moi sur le monde au fil des créations, les protagonistes parviennent bientôt à dire « je » sans avoir la consistance d’un personnage, alors que le moi de l’archiénonciatrice se dilate grâce à la perméabilité et aux permutations continuelles des thèmes, des motifs et des personnages. Le second chapitre analyse le décloisonnement spatial qui affecte la scène et la salle comme la performeuse et ses collaborateurs dans l’établissement d’un véritable dialogisme. À partir de l’étude du corps en scène, le dernier chapitre examine les effets du décloisonnement textuel et spatial, et montre que la mise en évidence du triple rôle endossé par Brassard – auteure, actrice et agenceure scénique – oblige à reconsidérer la nature du corps qui s’offre au regard durant la représentation, en invitant le spectateur à s’investir dans le jeu scénique au-delà des évidences. / This dissertation focuses on the development of the strategies of self-representation and autofictionnalisation in five one-woman shows by Marie Brassard between 2000 and 2011 – Jimmy, creature de reve, The Darkness, Peepshow, The Invisible and Me Talking to Myself in the Future. The objective of this study is to analyze the way vocal masks contribute to self-disclosure and thereby produce a feeling of intimacy despite the alternating effects of identification and alienation they engender. The first chapter shows that by opening the “me” to the world through creations, the protagonists soon come to say “I” without having the consistency of a character, while the “me” of the archienonciator expands through continual permeability and permutations of themes, motives and characters. The second chapter analyzes the deregulation affecting the space stage and the audience as well as the performer and her collaborators in the establishment of a genuine dialogism. With the study of the body on stage as its starting point, the last chapter examines the effects of spatial and textual decompartmentalization and shows that the display of the triple role endorsed by Brassard – author, actress and scenic organizer – forces us to reconsider the nature of the body that offers itself to the audience during the performance, inviting the audience member to invest himself in stagecraft beyond what is obvious.

Ce mémoire se penche sur l’évolution des stratégies d’autoreprésentation et d’autofictionnalisation dans cinq solos de Marie Brassard entre 2000 et 2011 – Jimmy, créature de rêve, La noirceur, Peepshow, L’invisible et Moi qui me parle à moi-même dans le futur. L’objectif de cette étude est d’analyser comment les masques vocaux contribuent au dévoilement de soi et produisent de ce fait un sentiment d’intimité malgré l’alternance des effets d’identification et de distanciation qu’ils suscitent. Le premier chapitre montre que, par l’ouverture du moi sur le monde au fil des créations, les protagonistes parviennent bientôt à dire « je » sans avoir la consistance d’un personnage, alors que le moi de l’archiénonciatrice se dilate grâce à la perméabilité et aux permutations continuelles des thèmes, des motifs et des personnages. Le second chapitre analyse le décloisonnement spatial qui affecte la scène et la salle comme la performeuse et ses collaborateurs dans l’établissement d’un véritable dialogisme. À partir de l’étude du corps en scène, le dernier chapitre examine les effets du décloisonnement textuel et spatial, et montre que la mise en évidence du triple rôle endossé par Brassard – auteure, actrice et agenceure scénique – oblige à reconsidérer la nature du corps qui s’offre au regard durant la représentation, en invitant le spectateur à s’investir dans le jeu scénique au-delà des évidences. / This dissertation focuses on the development of the strategies of self-representation and autofictionnalisation in five one-woman shows by Marie Brassard between 2000 and 2011 – Jimmy, creature de reve, The Darkness, Peepshow, The Invisible and Me Talking to Myself in the Future. The objective of this study is to analyze the way vocal masks contribute to self-disclosure and thereby produce a feeling of intimacy despite the alternating effects of identification and alienation they engender. The first chapter shows that by opening the “me” to the world through creations, the protagonists soon come to say “I” without having the consistency of a character, while the “me” of the archienonciator expands through continual permeability and permutations of themes, motives and characters. The second chapter analyzes the deregulation affecting the space stage and the audience as well as the performer and her collaborators in the establishment of a genuine dialogism. With the study of the body on stage as its starting point, the last chapter examines the effects of spatial and textual decompartmentalization and shows that the display of the triple role endorsed by Brassard – author, actress and scenic organizer – forces us to reconsider the nature of the body that offers itself to the audience during the performance, inviting the audience member to invest himself in stagecraft beyond what is obvious.

Quantum key distribution (QKD) protocols are intended to allow cryptographic keys to be generated and distributed in way that is provably secure based on inherent limitations, such as the no-cloning principle, imposed by quantum mechanics. This unique advantage compared with classical cryptography comes with an added difficulty: key bits in QKD protocols are encoded in analogue quantum states and their preparation is consequently subject to the usual imprecisions inevitable in any real world experiment. The negative impact of such imprecisions is illustrated for the BB84 QKD protocol. Following this, the main part of this thesis is concerned with the incorporation of such imprecisions in security proofs of the BB84 and two semi-device-independent protocols against the class of collective attacks. On a technical level, by contrast with the vast majority of security proofs developed since the turn of the century, in which recasting the protocol into an equivalent entanglement-based form features heavily in the analysis, the main results obtained here are approached directly from the prepare-and-measure perspective and in particular the connection with the no-cloning theorem and an early security proof by Fuchs et al. against the class of individual attacks is emphasised.<p><p>This thesis also summarises, as an appendix, a separate project which introduces and defines a hierarchy of polytopes intermediate between the local and no-signalling polytopes from the field of Bell nonlocality. / Doctorat en Sciences / info:eu-repo/semantics/nonPublished