Global ETD Search

11	Seismic-Reflection and Seismic-Refraction Imaging of the South Portuguese Zone Fold-and-Thrust Belt Schmelzbach, Cedric January 2007 (has links) The South Portuguese Zone (SPZ), which host world-class massive sulphide deposits, forms the southern fold-and-thrust belt of the Iberian Variscan orogeny. This thesis focuses on seismic-reflection and seismic-refraction processing efforts on a subset of the IBERSEIS deep seismic-reflection data set aiming at resolving the SPZ upper crust in high resolution. A comparison of different crooked-line seismic-reflection imaging schemes showed that a processing sequence involving dip-moveout corrections, a common-midpoint projection, and poststack time migration of common-offset gathers provided the most coherent images considering the crooked acquisition geometry. Correlation with surface-geological data allows four units of different reflection character to be identified: the ~0–2 km deep Upper Carboniferous Flysch group, the highly reflective ~2–4 km thick and up to ~5 km deep Volcano-Sedimentary Complex (VSC) group, and two deep Paleozoic metasedimentary units, with the shallower Phyllite-Quartzite group exposed in an antiform. Prominent diffracted energy was enhanced using a modified Kirchhoff imaging routine. High reflectivity and distinct diffractions mark extensive dike bands at 6–12 km depth, possibly related to the intense hydrothermal activity that led to the formation of the ore-bearing VSC group. Source-generated noise obscures potential signals from depths shallower than ~500m depth on the seismic-reflection sections. P- and SV-wave first-arrival traveltimes were inverted for velocity models imaging the shallowest crust. Overall, the velocity models correlate well with surface-geological data marking high (>5.25 km/s) and uniform P-velocities for the Flysch unit in the southern SPZ. A prominent P-wave low-velocity body (~4.5 km/s) is resolved where the Phyllite-Quartzite unit forms the core of an antiform. P-velocities fluctuate the most in the northern SPZ with Flysch group units exhibiting high velocities (>5.25 km/s) and VSC group bodies showing intermediate velocities (~5 km/s). Low VP/VS-ratios (~1.8) computed for the southern profile part are interpreted as less deformed Flysch-group units, whereas high VP/VS-ratios (~1.9) indicate fractured units. Geophysics Dip-moveout Prestack time migration Crooked-line geometry Traveltime tomography Inversion Seismic velocity IBERSEIS profile Variscan orogeny Iberian Pyrite Belt Geofysik Earth sciences Geovetenskap
12	Porteurs de pays à l’air libre : jeu et enjeux des pièces asymétriques dans la musique traditionnelle du Québec Duval, Jean 12 1900 (has links) La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca\MU) / Le répertoire de musique traditionnelle instrumentale québécoise comporte de nombreux exemples de pièces asymétriques, familièrement appelées « tounes croches » par les musiciens. Il s’agit de mélodies qui ne respectent pas le modèle carré dominant de 16 ou 32 temps par section. Sans être unique au Québec, la performance de pièces asymétriques soulève de nombreuses questions ethnomusicologiques. Les principaux objectifs de cette recherche sont, d’une part, de comprendre le « dialecte » musical asymétrique et, d’autre part, d’examiner divers enjeux reliés au jeu de pièces asymétriques chez les musiciens traditionnels québécois actuels. Suite à une vue d’ensemble sur la musique traditionnelle québécoise couvrant l’histoire, le répertoire, les styles de jeu et les contextes de jeu, les pièces asymétriques sont analysées en tant qu’objet musical. Basée sur les enregistrements historiques du Gramophone virtuel, la mise en comparaison de versions symétriques et asymétriques de pièces sert à élaborer une typologie comprenant trois grandes catégories : syntaxiques, morphologiques et pulsatives. La vingtaine de types d’asymétries syntaxiques répertoriés impliquent l’allongement ou l’écourtement dans une section. Elles peuvent survenir à différentes positions de la section, bien que les asymétries finales soient les plus courantes. Les asymétries morphologiques concernent la macrostructure des pièces telle que l’ordre de jeu des sections et le nombre de reprises de chacune d’elles. Une analyse de l’asymétrie dans d’autres traditions musicales d’Europe et d’Amérique du Nord est aussi réalisée. Elle permet d’affirmer que nous avons affaire à un système musical cohérent et en partie distinct dans le cas québécois. Les enjeux originels, identitaires, esthétiques et de réalisation sont ensuite explorés en se basant sur les résultats d’une enquête menée auprès de 18 musiciens traditionnels. Ces derniers expliquent l’origine des pièces asymétriques par des raisons cognitives, chorégraphiques et artistiques. Leur propos servent à démontrer que le jeu de pièces asymétriques touche à de nombreuses dimensions identitaires : nation, région, génération, communauté contextuelle et individu. Un choix esthétique, un désir de liberté dans la création, un lien au passé et un besoin de distinction d’un corpus de musique traditionnelle standardisé motivent les musiciens traditionnels québécois d’aujourd’hui à perpétuer et à enrichir le répertoire de pièces asymétriques. / There are numerous examples of asymmetrical tunes in Québécois traditional music repertoire. Familiarly called “tounes croches” (crooked tunes) by musicians, those melodies do not respect the dominant square model consisting of 16 or 32 beats per section of a tune. Without being exclusive to the Quebec tradition, the performance of crooked tunes raises several ethnomusicological questions. The main objectives of this research were to study the musical “dialect” found in asymmetrical tunes, and to look at various issues concerning the performance of asymmetrical tunes by contemporary Québécois traditional musicians. After a chapter that presents an overview of the history, repertoire, playing styles, and performance contexts of Québécois traditional music, asymmetrical tunes are analyzed as a musical object. The comparison of square and asymmetrical versions of tunes, taken mainly from the historical recordings available on the Virtual Gramophone, yields a typology that considers three main categories of asymmetries: syntactical; morphological; and pulsative. Syntactical asymmetries include about twenty different types, all involving a lengthening or a shortening at various positions of a section. Asymmetries at the end of a section are the most common. Morphological asymmetries concern the macrostructure of tunes such as the playing order of sections or the number of their repeats. Asymmetrical tunes in the repertoire of other musical traditions from Europe and North America are also analyzed. This allows us to confirm the existence of a coherent asymmetrical musical system that is partly distinct in the case of the Québécois tradition. Origin, identity, aesthetic, and performing issues are next studied based on the results of a survey done among 18 traditional musicians. Those surveyed explain the origin of asymmetrical tunes by cognitive, choreographic, and artistic reasons. Their discourse indicates that the performance of asymmetrical tunes touches several dimensions of their identity such as national, regional, generational, contextual and individual. An aesthetic choice, a desire for freedom in creation, a link to the past, and a need of distinction from a standardized traditional music repertoire motivate contemporary Québécois traditional musicians to perpetuate and to enrich the repertoire of asymmetrical tunes. Musique traditionnelle Québec Répertoire Asymétrie Identité Esthétique Origine Pièces asymétriques Tounes croches Traditional music Quebec Repertoire Asymmetry Identity Aesthetic Origin Crooked tunes
13	Pavages de l'espace affine / Tilings of the affine space Smilga, Ilia 12 November 2014 (has links) Pour tout entier naturel impair d, on construit un domaine fondamental pour l'action sur l'espace affine de dimension 2d+1 de certains groupes de transformations affines libres non abéliens, discrets, agissant proprement et de partie linéaire Zariski-dense dans SO(d+1, d). Pour tout groupe de Lie semisimple réel non compact G, on construit ensuite un groupe de transformations affines de son algèbre de Lie g qui est libre non abélien, discret, agit proprement sur g et a sa partie linéaire Zariski-dense dans Ad G. Enfin, on donne quelques résultats sur le comportement local des fonctions harmoniques sur le triangle de Sierpinski, plus précisément de leur restriction à un bord du triangle. / For every odd positive integer d, we construct a fundamental domain for the action on the 2d+1-dimensional space of certain groups of affine transformations which are free, nonabelian, act properly discontinuously and have linear part Zariski-dense in SO(d+1,d). Next for every semisimple noncompact real Lie group G, we construct a group of affine transformations of its Lie algebra g which is free, nonabelian, acts properly discontinuously and has linear part Zariski-dense in Ad G. Finally, we give some results about the local behavior of harmonic functions on the Sierpinski triangle restricted to a side of the triangle. Plans croches Groupe de Schottky Ping-pong Espace-temps de Margulis Groupe affine Triangle de Sierpinski Sous-groupes discrets de groupes de Lie Conjecture d'Auslander Conjecture de Milnor Variétés affines plates Crooked planes Schottky group Ping-pong Margulis spacetime Affine group Sierpinski triange Discrete subgroups of Lie groups Auslander conjecture Milnor conjecture Flat affine manifolds
14	The role of Archaeology in the Jesus industry Dyer, Jennifer 12 1900 (has links) The question leading to this study is whether the facts and theories pertaining to the Bible and Jesus Story as presented by The Authors (H Schonfield, D Joyce, B Thiering, M Baigent, R Leigh, H Lincoln; M Starbird, and D Brown) could be verified by the Archaeology evidence. I have adopted a multidiscipline and holistic approach considering information gathered from all media sources to ascertain what theories, if any could replace the traditional Jesus Story of the New Testament. I considered whether the alternative theories or traditional theories were believable due to the evidence presented by Biblical Archaeology or by the techniques used by The Authors in presenting their facts. By using Thouless’ system of Straight and Crooked thinking I was able to ascertain that the theories used in the novels written by The Authors may have been persuasive, but lacked substance. / Biblical and Ancient Studies / M. Th. (Biblical Archaeology) Jesus story Thouless Mary Magdalene Crucifixion Resurrection Merovingian blood line Holy Grail Knights Templar Sacred feminine Jesus of Nazareth Pesher theory Passover Plot Jesus scroll Holy Blood and the Holy Grail Jesus the man Woman with the alabaster jar Da Vinci code Cross bones Archko volumes Two Babylons Last Temptation of Christ Jesus of Montreal Passion of Christ Catholic Church Masada Nag Hammidi Library Dead Sea Scrolls Gospels Jesus Seminar Straight and crooked thinking 220.93 Bible -- Antiquities Bible -- Evidences, authority,etc. Bible -- History of Biblical events Jesus Christ -- In literature Jesus Christ -- Historicity Bible in literature Christianity in literature
15	Fauxtopia Kampf, Raymond William 01 January 2004 (has links) To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004 swindle subterfuge story stooge stereotype stratagem spurious spiel soft-soap snow job simulated aspersion adventure artificial anecdote allegory advertising assumptions belie bluff bogus brainwash calumniation canard cheat chronicle cliche cliffhanger con man conceal counterfeit crooked deal deceit deception disguise dishonest distort double cross ersatz evangelism exaggerate fabrication facade fake falsehood fantasy fib fiction flim flam fool folktale forgery frame up fraudulence fudge gag grifter guile guise history hoax hokey hype hyperbole knavery legend likeness make believe malign mask memoir misrepresentation mockery myth parable parody performance perjury phony placebo player ploy potboiler prevarication propaganda publicity puppet put-on quasi record reproduction romance routine ruse saga scam shtick semblance sequel show serial synthetic tall story trick unnatural untruth veneer verisimilitude white lie whopper Disney politics hyper reality theme park entertainment Art and Design Arts and Humanities

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