<p>The governor collections at the Colorado State Archives are a rich source for research and information about social science and the history of the state, but they are not always easy to research due to their differences in taxonomy through different eras. In my work with creating an archival research handbook for a governor collection I chose governor Ralph Carr to both illustrate the challenges as well as the thrills with historical research in a collection from the office of the governor.</p><p>Ralph Carr's collection takes patience to research. Some series will have inconsistent taxonomy and other series lack sub-series, and if a researcher is not familiar with the terminology of state affairs, many documents can pose a challenge. It is my hope that this handbook will be of use for both amateur researchers as well as provide a few short-cuts for more seasoned scholars. Governor Carr's collection covers some of the most dramatic years in Colorado history, the first part of WWII, and it is frequently requested for research, but many researchers get stuck between the vast amount of documents only sorted by dates, for instance in the series marked "Council of Defense", which contains many interesting documents about the Japanese-Americans who were to be deported to the Granada Relocation camp, or Camp Amache, as it was popularly called. It is my hope that the guide will not only provide such researchers some relief, but also to get the reader a sense for Colorado History, The Colorado State Archives and for the Governor collections in general.</p>

The governor collections at the Colorado State Archives are a rich source for research and information about social science and the history of the state, but they are not always easy to research due to their differences in taxonomy through different eras. In my work with creating an archival research handbook for a governor collection I chose governor Ralph Carr to both illustrate the challenges as well as the thrills with historical research in a collection from the office of the governor. Ralph Carr's collection takes patience to research. Some series will have inconsistent taxonomy and other series lack sub-series, and if a researcher is not familiar with the terminology of state affairs, many documents can pose a challenge. It is my hope that this handbook will be of use for both amateur researchers as well as provide a few short-cuts for more seasoned scholars. Governor Carr's collection covers some of the most dramatic years in Colorado history, the first part of WWII, and it is frequently requested for research, but many researchers get stuck between the vast amount of documents only sorted by dates, for instance in the series marked "Council of Defense", which contains many interesting documents about the Japanese-Americans who were to be deported to the Granada Relocation camp, or Camp Amache, as it was popularly called. It is my hope that the guide will not only provide such researchers some relief, but also to get the reader a sense for Colorado History, The Colorado State Archives and for the Governor collections in general.

La tesi indaga la specificità dell’approccio narrativo all’etica tramite l’analisi e il confronto delle proposte teoriche di A. MacIntyre, I. Murdoch, Ch. Taylor, P. Ricoeur e D. Carr, individuate come imprescindibili per le elaborazioni successive sul tema dell’etica narrativa, sia in ambito strettamente filosofico, sia nel più vasto scenario delle humanities. L’indagine descrittiva è finalizzata a una caratterizzazione quanto più possibile puntuale del profilo teorico dell’etica narrativa in quanto figura speculativa e alla messa a fuoco del suo apporto specifico alla riflessione etica. La duplice focalizzazione, storica e critica, della ricerca si riflette nelle modalità di interrogazione delle fonti. Nel caso di Alasdair MacIntyre e Iris Murdoch (ai quali sono dedicati rispettivamente il capitolo I e II) viene sviluppato un percorso selettivo di analisi testuale che, soffermandosi sui luoghi salienti della produzione di ciascun autore, evidenzia il ruolo della narrazione come paradigma per comprendere la prassi morale e formulare una teoria che ne rispetti la specificità. Al vaglio teoretico, piuttosto che all’analisi ricostruttiva, è invece più direttamente finalizzato il capitolo ‘sinottico’ dedicato a Taylor, Ricoeur e Carr (capitolo III). Prendendo spunto dalla tavola rotonda che li ha visti protagonisti nel 1983, all’indomani della pubblicazione del primo volume di Tempo e racconto di Ricoeur, il capitolo sviluppa infatti un esame dell’opera dei tre autori che punta a chiarire l’apporto specifico della componente fenomenologica, di quella critico-trascendentale e di quella ermeneutica alla loro riflessione sul nesso tra etica e narrazione. Le Considerazioni conclusive recuperano le osservazioni di carattere teoretico-valutativo raccolte al termine di ciascuno dei capitoli monografici e le indicazioni di carattere fondativo emerse all’interno del capitolo sinottico, pervenendo a un’ipotesi di definizione dell’etica narrativa, della sua fondazione antropologica e della specifica idea del bene che essa veicola. / The thesis deals with the narrative approach to ethics, whose peculiarity is analyzed with reference to the works of A. MacIntyre, I. Murdoch, Ch. Taylor, P. Ricoeur and D. Carr; their theories, in fact, are recognized as the starting points for the subsequent elaborations about narrative ethics, in philosophy as well as in the larger field of the humanities. The analyses of the works and the comparisons among the authors aim at an exact characterization of the speculative profile of narrative ethics and are directed to specify its contribution to ethics. This double focus, historical and theoretical, of the thesis is reflected in the way the sources are examined. As concerns A. MacIntyre and I. Murdoch (confronted respectively in chapter I and chapter II), a selective textual analysis is put forward, whose purpose is to point out the role of narrative as a paradigm both to comprehend the moral conduct and to formulate a theory able to do justice to its peculiarity. To theoretical confrontation more than to historical reconstruction is devoted the ‘synoptical’ chapter concerning Taylor, Ricoeur, and Carr (chapter III). Taking as a starting point the round table of 1983, when they met soon after Time and Narrative I by Ricoeur was published, the chapter works out a comparative analysis of the works of the authors in order to clarify the contribution of the phenomenological, Kantian and hermeneutical legacy to their justification of the link between narrative and ethics. The “Final remarks” collect the critical considerations introduced at the end of the first two chapters and the hints about the possible foundations of narrative ethics drawn in chapter III, coming to a hypothesis about the definition of the narrative approach to ethics, its anthropological foundation and the idea of the Good it points to.

Des séquences d'impulsions radiofréquence régulièrement espacées telles que rencontrées en Résonance Magnétique Nucléaire peuvent être abordées par des algorithmes simples de type polynomial (transformée en Z). Une simplification supplémentaire est apportée par l'utilisation de spineurs pour caractériser les rotations. Une première application de la combinaison de ces deux outils est un algorithme de type effeuillage permettant la synthèse d'impulsions radiofréquence sélectives continues. Cet algorithme proposé originellement par l'auteur, a été utilisé depuis plusieurs années en IRM car permettant de s'affranchir facilement de la non linéarité des équations de Bloch. En plus d'une présentation nouvelle de cet algorithme, quelques détails d'implémentation non publiés et quelques compléments théoriques et conditions d'application sont donnés. Une rapide comparaison critique avec les algorithmes de type IST (Inverse Scattering Transform) est donnée.<br />On utilise ensuite les mêmes outils pour donner un modèle simplifié des séquences CPMG (Carr Purcell Meiboom Gill) et SSFP (Steady State Free Precession) . Pour cela on considère la rotation d'écho à écho et on explique la stabilisation naturelle des signaux par la dispersion de phase. Une caractérisation simplifiée mais d'usage assez large des processus de relaxation est obtenue. Un lien entre un algorithme polynomial de stabilisation des signaux de la séquence CPMG, et une version discrétisée du principe adiabatique est proposé. Ce principe d'adiabatisme un peu élargi est appliqué à la stabilisation des séquences SSFP .<br /> Enfin un dernier chapitre aborde une séquence non-CPMG, basée sur une modulation quadratique de la phase du train d'impulsions, qui permet de s'affranchir de la sensibilité à la phase initiale de la séquence CPMG. Il est montré qu'une modulation quadratique étant équivalente après un changement de repère à un système stationnaire, il suffit d'amener l'état du système dans un sous-espace de vecteurs propres bien choisis pour obtenir un équilibre dynamique qui, pour certaines valeurs du paramètre caractérisant la modulation quadratique, donne des signaux de même amplitude quelles que soient les conditions initiales. La sensibilité à la phase initiale de l'aimantation est ainsi annulée. <br />Cette séquence est illustrée par une application clinique à l'imagerie de diffusion, pour laquelle le moindre mouvement du patient entraîne une variation incontrôlée de la phase de l'aimantation initiale.<br />Dans la conclusion de la thèse les limitations des solutions proposées au long des chapitres sont mentionnées et quelques pistes possibles pour tenter de résoudre les problèmes restés ouverts sont proposées.

This thesis examines the impact of gender, feminism and motherhood on the careers of four Australian composers: Margaret Sutherland (1897–1984), Ann Carr-Boyd (b. 1938), Elena Kats-Chernin (b. 1957) and Katy Abbott (b. 1971). / Aspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others. / The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration. / Three broad themes are investigated. First, the ways in which each composer’s family background, upbringing and education have impacted on their decision to enter the traditionally male field of composition are explored. The positive influence from family and other mentors, and opportunities for a sound musical education, are factors particularly necessary for aspiring female composers. I argue that all four women have benefited from upbringings in families where education and artistic endeavour have been valued highly. / The second theme concerns the extent to which the feminist movement has influenced the women’s lives as composers and mothers, and the levels of frustration, and/or satisfaction or pleasure each has felt in blending motherhood with composition. I contend that all four composers have led feminist lives in the sense that they have exercised agency and a sense of entitlement in choices regarding their domestic and work lives. The three living composers have reaped the benefits of second-wave feminism, but have eschewed complete engagement with its agenda, especially its repudiation of motherhood. They can more readily be identified with the currently evolving third wave of feminism, which advocates women’s freedom to choose how to balance the equally-valued roles of motherhood and the public world of work. I assert that Sutherland was a third-wave prototype, a position that was atypical of her era. / The third and final theme comprises an investigation of the ways in which historical and enduring negative attitudes towards women as musical creators have played out in the musical careers in these composers. It is contested that Sutherland experienced greater challenges than her successors in the areas of dissemination, composition for larger forces, and critical reception, but appears to have been more comfortable in promoting her work. The exploration of their careers demonstrates that all four of these creative mothers are well-respected and recognised composers. They are ‘third-wave’ women who have considerably enriched Australia’s musical landscape.

Ce travail se place dans le contexte des recherches sur les mémoires quantiques pour la lumière. L’information quantique est stockée dans un état de superposition atomique, dont la durée de vie détermine le temps maximum de stockage.On s’intéresse particulièrement aux matériaux capables de capturer la lumière par excitation résonnante d’une raie d’absorption, puis de conserver l’information quantique dans un état de superposition du fondamental électronique.Dans Tm3+:YAG, l’information est enregistrée dans un état de spin nucléaire. Cependant le champ magnétique qui lève la dégénérescence nucléaire entraîne les différents spins à des vitesses de précession différentes, ce qui tend à détruire l’aimantation initiale, porteuse de l’information.Une étude quantique du cristal est réalisée lors du premier chapitre de ce manuscrit. Les trois chapitres suivants traitent des différents mécanismes conduisant au déphasage des spins nucléaires. On y trouvera différente analyses théoriques qui seront confirmées par un ensemble de résultats expérimentaux, ainsi qu’une description détaillée du dispositif expérimental. Enfin le dernier chapitre, prospectif, exploite les outils développés au cours de la thèse pour préserver les cohérences optiques. Il présente quelques résultats expérimentaux prometteurs sur l’allongement du temps de vie de ces cohérences optiques. / This work takes place in the context of research about quantum memories for light. The quantum information is stored in an atomic superposition state whose lifetime sets the maximum storage time. We are particularly interested in materials which are able to hold the light by resonant excitation of an absorption line, preserving the quantum information in a superposition state of the electronicfundamental.n Tm3+:YAG the information is stored in a nuclear spin state. However, the magnetic field which lifts the nuclear degeneracy generates different precession speeds of the spins. This destroys theinitial magnetization carrier of the information.In the first chapter of this thesis, a quantum analysis of the crystal is done. The following three chapters are devoted to different mechanisms to control the nuclear spins dephasing. There it ispossible to find different theoretical analysis which will be confirmed by a series of experimental measurements, including an extended description of the set-up. Finally, the last chapter presentsthe different techniques used to preserve the optical coherence. Promising experimental measurements are presented to extend the life time of the optical coherences.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis centers on a country that has produced some of the greatest and most important English language dramas of the past two centuries. Within this cultural context, this thesis is also about a feminine revival in Irish theatre and how this can be a powerful tool to incite change. Early in history, Irish writers, and specifically dramatists, recreated a type of theatre that captured the true essence of what it meant to be Irish by representing their struggles, frustrations and humor. The Irish talent for storytelling connects back to its Gaelic roots and has remained a constant in the life of a culture that has passed down this art form for centuries. The focus of this thesis is to examine three contemporary Irish plays by prominent playwrights who came to the world of theatre from very different backgrounds. Each play is written by a different hand, yet all share a vital common denominator: the interaction of female character groups – groups that are central to the action of each play. What incited my interest in these three plays – Brian Friel’s Dancing at Lughnasa, Anne Devlin’s Ourselves Alone and Marina Carr’s The Mai – was the playwright’s ability to expose what had been silenced in Irish history for so long. Each female character portrays one important aspect of Irish womanhood that has been tragically understated in the nation’s literature since the death of John Millington Synge: woman’s struggle between what she wants to be and who she is expected to be. These three plays will be scrutinized in terms of three elements of social control contributing to woman’s struggle in Irish society: myth, church and patriarchal tradition.

This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.

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