In northeastern Mississippi, land cover types vary from agriculture, forests, urban surfaces, pasture, to bodies of water. Substantial evidence exists supporting the contribution of land cover and land cover discontinuities, or physiographic transition zones, to cloud formation on synoptically benign days in many areas across the globe. However, research is lacking on the specific type of land cover and/or land cover discontinuities that convection favors in the warm season. The objective of this study was to develop a synoptically benign convective cloud climatology for northeastern Mississippi and compare this climatology to land cover to determine whether a relationship between land cover type and convective cloud enhancement exists. The study shows a statistically significant clustered pattern occurring in the study area. In addition, enhanced convective events appear to favor land use regions of evergreen needleleaf forest; dryland, cropland, and pasture; and savanna. The study indicates that these three land cover types occur significantly more frequently for the enhancement points than in the study area. The findings support the existence of a significant relationship between land cover and convective enhancement in northeastern Mississippi and provide opportunities for additional future research on relationships between land cover and convection to improve forecast applications and our knowledge of mesoscale circulations.

Ce travail de thèse a pour but de mieux documenter les processus majeurs qui ont lieu lors de la collision alpine : le raccourcissement crustal, l'évolution thermique et les circulations de fluides. La première partie de ce travail apporte de nouvelles données thermo-chronologiques U-Th-Sm/He sur zircon (ZHe) et RSCM (Raman Spectroscopy on Carbonaceous Material, Tmax) sur le massif des Aiguilles Rouges. Ces données sont intégrées à l'histoire thermique de ces massifs et utilisées pour contraindre l'évolution structurale de la marge dauphinoise proximale lors de son inversion. La seconde partie de ce travail consiste en la mise au point d'une nouvelle méthode de restauration des coupes qui ont subi de fortes déformations ductiles. Le travail de terrain a de plus permis de définir le cadre structural et microstructural de l'étude des circulations de fluides à l'interface entre socle et couverture dans ces mêmes bassins du massif de l'Oisans. Les données géochimiques (isotopie, microthermométrie des inclusions fluides, éléments traces) montrent que des fluides (en faible quantité) dérivés du socle ont percolé à la base de la couverture dès l'initiation du raccourcissement collisionnel. Ces résultats permettent de proposer un modèle conceptuel d'évolution des circulations de fluides à l'échelle des massifs cristallins externes alpins. Dans une dernière partie, la modélisation thermomécanique de l'inversion de bassins hérités montre que la profondeur d'enfouissement tectonique joue un rôle primordial dans le style d'inversion des bassins. L'ensemble des résultats sont intégrés dans un modèle d'inversion collisionnelle de la marge européenne. / This work aims at better documenting and understanding major processes that occur during Alpine collision, such as crustal shortening, thermal evolution and fluid circulations. In the first part of the work, we provide new U-Th-Sm/He on zircon (ZHe) thermochronological data and new RSCM (Raman Spectroscopy on Carbonaceous Material) data for the Aiguilles Rouges. These data are integrated into the thermal histories of these massifs and used to constrain the structural evolution of the proximal Dauphinois margin during its collisional inversion. The second part of the work consists of the development of a new methodology to balance cross-sections where rocks were ductilely deformed. Finite deformation of the metasedimentary cover of the Oisans basins is used to constrain shortening. Fieldwork allowed us to define the structural and microstructural setting for the study of fluid circulations close to the basement/cover interface in the very same basins. Geochemical analyses (stable isotopes, microthermometry of fluid inclusions and trace elements) highlight that small amount of basement-derived fluids percolated into the cover as soon as the onset of collisional shortening. Those results are gathered into a conceptual model of evolution of fluid circulation through time and progressive deformation at the scale of the entire ECM. In the last part, thermomechanical modeling of inversion of inherited extensional basins show that tectonic burial is a major parameter controlling basin inversion style. Finally, all those new results are integrated into a scenario of the inversion of the European margin during Alpine collision.

Le stockage géologique du CO2 est un des enjeux scientifiques majeurs envisagés pour contrôler le réchauffement climatique lié aux gaz à effet de serre. Le stockage en domaine sédimentaire nécessite une connaissance des facteurs stabilisant/destabilisant les réservoirs, qui peut être apportée par l’étude d’analogues naturels. L’utilisation de méthodes pétrographiques, microthermométriques et géochimiques appliquées aux carottes du forage V.Mo.2 traversant le réservoir naturel de CO2 de Montmiral (France), permettent de suivre les migrations de CO2. Dans le socle Paléozoïque, les inclusions fluides carboniques témoignent de la démixtion sous forte couverture d’un fluide aquo-carbonique chaud, probablement à la fin du Crétacé ou au Paléogène, qui marquerait le remplissage du réservoir de Montmiral. L’étude des unités sédimentaires sus-jacentes montre que le CO2 est resté confiné dans les niveaux rhéto-sinémuriens sous les marnes du Domérien à l’Oxfordien Moyen. Ces marnes jouent le rôle de barrière étanche aux fluides au cours des principaux stades de circulations reconnus. Un premier stade lié à l’extension téthysienne affecte les séries sous-jacentes aux marnes. Un deuxième stade, rattaché à la compression pyrénéenne grâce à une étude de terrain, induit une karstification des séries sus-jacentes à l’écran marneux. A la base du forage, c’est à cette période que le réservoir fuit, mais cette fuite reste confinée sous l’écran marneux. La stabilité du réservoir de Montmiral est due à la présence de l’épais niveau marneux et à la structuration en blocs du bassin de Valence et de son socle limités par des failles jouant le rôle de barrière latérale. / Study of natural CO2 analogues brings key informations on the factors governing the long term stability/instability of future anthropogenic CO2 storages. The main objective of this work, through the study of cores from V.Mo.2 well crosscutting the Montmiral natural reservoir (Valence Basin, France), is to trace the deep CO2 migrations in fractures. Petrographic, geochemical and microthermometric studies of the V.Mo.2 cores were thus performed in order: 1) to describe the reservoir filling conditions and 2) to detect possible CO2-leakage through the sediments overlying the reservoir. Fluid inclusions from the Paleozoic crystalline basement record the progressive unmixing of a hot homogeneous aquo-carbonic fluid. The Montmiral reservoir was therefore probably feeded by a CO2-enriched gas component at the Late Cretaceous-Paleogene. The study of the sedimentary column in V.Mo.2 well, demonstrates that the CO2 did not migrate towards the surface through the thick marly unit (Domerian-Middle Oxfordian). These marls have acted as an impermeable barrier that prevented the upward migration of fluids. Two main stages of fluid circulation have been recognized: 1) an ante- Callovian one related to the tethysian extension 2) a tertiary stage during which the upper units underwent a karstification, with CO2 leakage related but which remained confined into the deeper parts of the Valence Basin. Since the Paleogene, the Montmiral reservoir has apparently remained stable, despite the pyrenean and alpine orogeneses. This is mainly due to the efficient seal formed by the thick marly levels and also to the local structuration in faulted blocks which apparently acted as efficient lateral barriers.

Le présent travail intègre une dimension internationale dans son sujet : La sculpture russe du naturalisme à l’Art Nouveau : géopolitique des pratiques artistiques. Il a pour fondement l’étude de ceux des sculpteurs russes qui, d’une manière ou d’une autre, ont voyagé ou séjourné à l’étranger entre 1870 et 1914. En faisant converger les approches de la nouvelle « macro-histoire de l’art », soutenue par les méthodes statistiques de l’histoire de l’art quantitative, avec l’émergence d’une problématique non pas « bilatérale » mais « multilatérale », à même de rendre compte de manière complète de l’évolution internationale d’un art et de ses acteurs, l’étude se concentre sur les rapports entretenu par des artistes d’un pays avec les autres pays en général. Il cherche ainsi à redéfinir une géographie européenne de l’art, avec une mise en relation des différents centres artistiques entre eux vus par un prisme étranger. Ainsi, par une approche multinationale, distingue-t-il les centres artistiques européens majeurs de la période : Paris supplantant progressivement Rome au cours du siècle en tant que centre artistique de niveau mondial, Munich et Berlin se disputant la place de centre majeur de l’Europe médiane. Paris assoit alors sa domination écrasante dans la concentration des sculpteurs par rapport à ses concurrentes allemandes et italiennes. Les circulations internationales influencent dès lors l’évolution artistique en Russie, notamment lorsque les sculpteurs y reviennent après un séjour à l’étranger : les apports de la sculpture occidentale interviennent dans les multiples évolutions qui affectent la plastique russe depuis les années 1870 jusqu’à l’Âge d’Argent. / The following work is to be considered from a global point of view, as shown in this topic: Russian sculpture from naturalism to Art nouveau: a geopolitical analysis of artistic practices. The basis of this study is that of the Russian sculptors who have somehow traveled or stayed abroad between 1870 and 1914. By putting together the new ‘macro art history’ approaches supported by the statistics of a quantitative method of art history with the emergence of a rather multi-lateral question than a bi-lateral one which has the power to fully acknowledge the global evolution of an art and its participants, this study focuses on the relations maintained by the artists from one country with other countries in general. From a foreign perspective, this study aims at redefining the European geography of art while connecting various artistic centers together. A distinction is therefore made from a global approach between the most important art-related European centers of the time; namely Paris, which progressively replaced Rome over the century as a nationally-scaled point of interest, as well as Munich and Berlin, which challenged their number one standing in central Europe. Unlike its German and Italian competitors, Paris managed to establish its authority by gathering sculptors. Global migration consequently influenced the evolution of art in Russia, especially when sculptors went back after staying abroad. Thereby, contributions from Western sculptures played an essential role in the various artistic evolutions that affected Russia from the 1870’s to the Silver Age.

Au cœur du processus de construction de l'économie de la connaissance, les diasporas sont considérées comme des leviers du développement. Ainsi, on observe un intérêt grandissant de la part des gouvernements et des organisations internationales pour la production et la mobilisation des Diaspora Knowledge Networks. Dans le même temps, les associations de migrants sont de plus en plus nombreuses et l'émigration qualifiée en Amérique Latine atteint des sommets. En partant de ce constat, cette thèse a eu pour but d'observer les dynamiques de circulation du savoir entre l'Europe et les pays andins. Alors, cette thèse se construit autour de l'idée du partage de l'espace diasporique entre la société civile, les administrations des pays d'origine et pays de destination. La thèse consiste donc à montrer comment les modes de spatialisation diffèrent selon que l'on étudie une initiative systémique ou par le bas. Ainsi, en bénéficiant des expériences andines et européennes, à partir des organisations de la société civile, cette thèse révèle le partage des diasporas par, et entre, ses acteurs. / In the knowledge based economy building process, diasporas are seen as a development enabler. Thus we observe a growing interest of governments and international organizations in promoting and mobilizing diasporas knowledge networks, allowing them to contribute to national research and development activities in their countries of origin. In the mean time, diaspora organizations are growing and emigration of highly qualified at the highest rates ever reached in South America. Considering this situation as a starting point, this thesis was dedicated to observe dynamics of knowledge circulations between Europe and the Andean countries. In so doing, this thesis makes its point showing how the civil society, the origin countries and destination countries administrations share the diasporic space undertsood as the space of knowledge circulations. From this perspective we show that spatialization modes are different between systemic or spontanous initiatives. Thus, benefiting from andean and european experiences among civil society organizations we state that diasporas are both shared and split by their actors.

L'étude systématique des concentrations en tritium et en oxygène- 18 dans les eaux superficielles et souterraines a permis de mettre en évidence certaines modalités des circulations . Les premiers bilans réalisés ont montré, entre autres, que l'incertitude la plus importante était commise dans l'évaluation de l'infiltration. Aussi, le but de cette étude a été de préciser ce paramètre en utilisant les techniques isotopiques depuis l'échelle du mètre (lysimètre), jusqu'à celle du kilomètre (bassin versant).

The research presented in this dissertation focuses on understanding the dynamics of waves and currents in the presence of wave breaking. The simplest approach, direct numerical simulation of the ocean dynamics, is computationally prohibitive--waves typically have periods of tens of seconds, while currents vary on times from hours to days. This work uses a multi-scale asymptotic theory for the waves and currents (Craik and Leibovich, 1976; McWilliams et al., 2004}, similar to Reynolds-averaged Navier-Stokes, in order to avoid resolving the wave field. The theory decomposes the total flow into the mean flow (current) and fluctuations (waves), then takes a moving time average of the total flow equations to determine the wave forcing on the current. The main challenge is extending this theory to include a physical model for dissipative wave effects, notably breaking, in terms of the wave age, wind speed, and bottom topography. Wave breaking is difficult to observe, model, and predict, because it is an unsteady, non-linear process that takes place over disparate scales in both space and time. In the open ocean, white-capping often covers less than 2% of the surface, yet still plays an important role in the flux of mass, momentum, heat, and chemicals between the atmosphere and ocean. The first part of this dissertation proposes a stochastic model for white-capping events, and examines the stability of the ensemble average of these events. Near the shore, the decreasing ocean depth causes waves to overturn and break. Over time, this drives currents that erode sediment from beaches and deposit it around coastal structures. These currents are often so strong that their effect on the wave field, and thus their own forcing, is significant. A detailed analysis of this phenomena makes up the second part of this dissertation.

This dissertation interrogates how diverse actors ascribe semantic, affective, and political meanings to instrumental music under changing historical circumstances and in different performance contexts. In what I call an “ethnographic reception study,” I employ historical and ethnographic methods to assess the ways in which the popular samulnori percussion genre from South Korea has been imbued with associations as divergent as a sonic symbol of Korea to narratives of resistance against the state. Through five chapters, I track some of the contested and multiple meanings as they interact, both in historical moments in South Korea and vis-à-vis transnational circulations that led to the genre’s transmission outside Korea. As a genre of percussion music that was first created in South Korea in 1978, samulnori has had a complex reception during three dramatic decades in modern Korean history—leading to life-changing encounters from its fans while also eliciting scorn from its detractors. As a dynamic musical genre that is now notated and largely nonverbal, samulnori has served as a user-friendly sonic canvas upon which identities and affinities have been easily grafted by non-Korean fans, leading to the development of amateur samulnori ensembles and musical communities around the world. By considering the ways in which the samulnori genre has been evaluated, interpreted, and practiced by different actors, I show how the genre’s complex reception exhibits a relational and imbricated set of meanings over time. Last, by considering the cultural politics of samulnori from diachronic and synchronic perspectives, I offer a working methodology for contemporary studies of music reception. / Music

This work attempts to relate global teleconnections, through physical phenomena such as the El Nino-Southern Oscillation (ENSO), Artic Oscillation (AO), North Atlantic Oscillation (NAO), and the Pacific North American (PNA) pattern to synoptic-scale weather patterns and precipitation in the Roanoke, Virginia region. The first chapter describes the behavior of the El Nino-Southern Oscillation (ENSO) by implementing non-homogeneous and homogeneous Markov Chain models on a monthly time series of the Troup Southern Oscillation Index (SOI), a sea level pressure based index. Meanwhile, in the second chapter the author has related or an attempt has been made to relate global teleconnections (through ENSO and AO) to a synoptic scale, station-centered set of weather types in order to assess trends in precipitation. The final portion of this work describes spatial variability of seasonal precipitation in southwestern Virginia in a context that incorporates global teleconnections (through AO, PNA, NAO, and ENSO) and frontogenesis. It was found that the Markov property can be used to describe and predict the monthly evolution of ENSO. Also evident is an increased probability of a wetter spring in the Roanoke region when El Nino combines with the negative phase of the AO during the previous winter. Meanwhile, Roanoke winters subsequent to a fall season described by this same El Nino-AO condition are predicted to receive more precipitation than average. This work additionally showed possible trends between frontal-precipitation events in the Roanoke region and global teleconnections. / Master of Science

Les ensembles à vent existent dans toute l’Europe. Ils sont un trait de culture partagé. La miseà jour d’une sub-culture fanfaristique s’effectue à partir des comparaisons, migrations,circulations, étudiées à travers les ensembles à vent et par emboîtement d’échelles. A partird’exemples représentatifs, pris à hauteur d’Hommes, l’existence d’un modèle européen de lafanfare, dans son fonctionnement, son image, son rôle… est mis au jour. Pluriels, les ensemblesà vent ne sont pas des copies parfaites, mais de nombreux points communs permettent demodéliser cette pratique socioculturelle.Même si pour beaucoup au second XXe siècle, le mouvement orphéonique relève du passé,notre étude des ensembles à vent débute dans les années 1940 avec la Seconde Guerre Mondialepuis la Libération, et s’achève dans les années 1980 marquées par un tournant social, politiqueet culturel. Plus que sur le déclin, la fanfare est, au cours de la période, en mutation. Inventé auXIXe siècle, l’ensemble à vent répond à une triple définition. Il s’agit tout d’abord d’unensemble d’instruments à vent (cuivres et bois) et de percussions joués par des musiciensamateurs. La fanfare est également un orchestre de plein air. Enfin, c’est une musique qui «marche », qui défile pour animer la cité.La nature même de cette pratique musicale collective, effectuée par des musiciens nonprofessionnels, inclut une dimension sociale capitale. Autour de cette pratique récréative, seforme un groupe avec ses sociabilités, qui le cimentent. Les ensembles à vent répondent aussià une demande sociale multiple et notamment un rôle d’éducation populaire.L’ensemble à vent apparaît comme un modèle transnational qui possède une réelle identité.Inclassable, il n’appartient ni à la culture populaire, ni à la culture savante. La catégorisationentre une culture dominée et une culture dominante doit être remise en cause au profit d’uneautonomisation des normes de valeurs et de l’abolition des hiérarchies. Le fonctionnement, toutcomme les appropriations qu’il subit et qu’il réalise, plaident en faveur d’une autonomisationdes ensembles à vent. Ils sont une pratique et un genre autonome et reconnaissable dans toutel’Europe. / Wind ensembles exist all over Europe. They are a shared cultural feature. The exposure of aband sub-culture is established from comparisons, migrations, circulations, through windensembles, and interlocking at various levels. Drawing from representative examples, on aperspective centered on Man, the existence of a European standard for brass-bands, in itsoperation, image, role is brought forward. In their varied nature, wind ensembles are not perfectduplicates, but many common features make a modelling of such a sociocultural practicepossible.Even though, for many, in the second half of the twentieth century, brass-band culture was athing of the past, our study of wind ensembles begins in the 1940s with the Second World War,then the Liberation, and ends in the 1980s with its social, political and cultural turning point.Rather than being declining, brass bands were, over the period, evolving sharply. Invented inthe nineteenth century, the wind ensemble meets three different definitions. It is first anensemble of wind instruments (brass and woodwind) and percussions played by amateurmusicians. Brass-bands is also an outdoor orchestra. Finally, it is a “marching” music, one thatparades to animate the city.The very nature of this collective music-making, carried out by non-professional musiciansincludes a major social dimension. Around this recreational activity, a group gathers, and iscemented by its sociabilities. Wind ensembles also respond to a multiple social demand, inparticular a role in popular education.The wind ensemble appears as a transnational model with a full identity. Unclassifiable, itbelongs neither to popular culture, nor to high brow culture. The categorization betweendominated and dominant culture should be called into question. Empowering standards as wellas abolishing hierarchies must be promoted instead. Its functioning as well as the ownerships itis subjected to and it achieves, advocates for an empowerment of wind ensembles. They are anautonomous and recognizable practice throughout Europe.