La coupe de Droop attique* est un vase sur pied haut, produit à Athènes dans la 2e moitié du VIe s. av. J.-C. et, plus exceptionnellement, dans le 1er quart du Ve avant J.-C. Par la forme de sa vasque et la distribution de son décor, elle se rapproche davantage de la coupe à bande des « Petits Maîtres », dont elle est très probablement une variante. Il n’y a eu jusqu’à présent que très peu d’études approfondies sur cette classe, John Percival Droop et Percy Neville Ure faisant figures de pionniers dans ce domaine. Pourtant, deux de ses potiers, Antidoros et Nikosthénès, ont été repérés par leurs signatures dès la fin du XIXe et du début du XXe siècles et une dizaine de peintres ou groupes de peintres ayant décoré des exemplaires de cette forme avait déjà été identifiée par John Beazley. Depuis les travaux de ces chercheurs dans les années 1950, de nombreux spécimens de coupes de Droop ont été découverts et publiés, sans toutefois être insérés dans une étude d’ensemble. Cette recherche de doctorat propose de revoir les informations anciennes livrées par l’archéologie des coupes de Droop, et d’analyser les nouvelles données à travers un corpus d’exemplaires découverts en Grèce du Nord, sur l’île de Thasos et dans sa colonie, Néapolis (Kavala). *Il existe un équivalent laconien. / The Attic* Droop cup is a vase with high foot, produced in Athens in the 2nd half of the VI and first quarter of the V century B.C. By the shape of its bowl and the distribution of its decoration, it is close to the Little Master band cup and very probably a variant of this one. Although two of its potters (Antidoros and Nikosthénès) were identified by their signatures from the XIXth century, there were until now very few in-depth studies on this class, John Percival Droop and Percy Neville Ure being real pioneers in this field. John Beazley established a list of less than about ten painters or groups of painters having decorated some of the Droop cups Since the works of these researchers in the Fiftie’s, numerous specimens of Droop cups were discovered and published, without having however been inserted into a more general study. This Ph.D. research suggests revising the former informations delivered by Archaeology of Droop cups, and analyzing the new data through a corpus of exemplaries discovered in Northern Greece, on the island of Thasos and in its colony, Néapolis (Kavala).*There is a Laconian equivalent.

Made available in DSpace on 2016-03-15T19:42:25Z (GMT). No. of bitstreams: 1 Alexandre Jubran.pdf: 12003887 bytes, checksum: 18ee75f99ed7d8171a579046e6f6d9bd (MD5) Previous issue date: 2013-02-25 / The present work discusses the learning process of free hand drawing and particularly of the human figure drawing and languages and methodologies of that form of expression, and design models aimed at visual arts students. The reading texts related to the design and its meaning, the cognitive aspect and philosophies applied to the study of the figure gives the basis for reading lines of human object, offering a contemporary look to this as a learning experience, coupled with possible references to understanding of general forms of learning design, as well as its pedagogy. Besides the introduction and endnotes, the dissertation has five parts, dealing with topics such as drawing lines and their historical and contemporary models coexisting, learning through the assimilation of these, and the possible place of technique and proportions of the design considerations with design pedagogy, the teacher as mediator and systematization of the development process of the author as a teacher of classes drawing freehand. / O presente trabalho discute o processo de aprendizagem do desenho à mão livre e particularmente do desenho da figura humana e as linguagens e metodologias nessa forma de expressão; e modelos de desenho dirigidas a estudantes de artes visuais. A leitura de textos relacionados ao desenho e a seu significado, o aspecto cognitivo e filosofias aplicadas ao estudo da figura dão a base para linhas de leitura do objeto humano, que propõem um olhar contemporâneo para esse aprendizado como experiência pessoal, somada a possíveis referências para a compreensão das formas gerais de aprendizado do desenho, bem como de sua pedagogia. Além da introdução e das notas finais, a dissertação é estruturada em cinco partes, tratando de temas como linhas de desenho e seus modelos históricos e contemporâneos coexistentes; o aprendizado por meio da assimilação destes; e o lugar possível da técnica e das proporções do desenho com considerações sobre a pedagogia do desenho, o professor como mediador e a sistematização do processo de desenvolvimento do autor como professor de turmas de desenho à mão livre.

Made available in DSpace on 2016-04-29T14:22:54Z (GMT). No. of bitstreams: 1 Fabio Luiz Livramento Barretto Musarra.pdf: 87891670 bytes, checksum: f4c2fd61c79ce223778948a7cbc9d63e (MD5) Previous issue date: 2011-06-15 / This research investigates the artistic-ontological fundaments of the Human Figure conception, choosing its history and describing the thematically evolution which tangents the human being image conception. Analyzing the evolution process in the paintings and Greek sculpture, discusses its influences in works from the Masters of the Renaissance, who are considered as the source of current concepts in the tridimensional modeling area of the human figure. From this context, the ontological properties are organized and they regulate the modeling of the human figure inside the digital environment of the tridimensional modeling software, based in a derivative pragmatic of a tophilosophical position. Inside this perspective introduces and defines the concept of the character, establishing it to the methodological process of the tridimensional modeling of the human figure. As the object of this research, it is dedicated the sequential and normative exposition of a character modeling, structuring its steps and its ontological organization from its conceptual properties, showing its connection and fundament in the tradition of the Renaissance Masters. It is accomplished the application of the concept of tridimensional modeling of characters in the presentation of digital artists innovation in the current representation of the human figure, which suits as a base to the tridimensional to the composition of games and metaverses characters. It concludes with the exposition and proposal of a pragmatic that can guide the character modeling to the Digital Design of Interactive Environments / A pesquisa investiga os fundamentos ontológico-artísticos da concepção da Figura Humana, elencando seu histórico e descrevendo a evolução temática no que tange à concepção da imagem do ser humano. Analisando o processo evolutivo nas pintura e escultura gregas, discute sua influência em trabalhos dos Mestres do Renascimento, os quais são considerados como as fontes dos atuais conceitos na área de modelagem tridimensional da Figura Humana. A partir deste contexto, organiza as propriedades ontológicas que regulam o trabalhos de modelagem da figura humana dentro do ambiente digital do software de modelagem tridimensional, com base em uma pragmática derivada de uma posição topofilosófica. Dentro dessa perspectiva introduz e define o conceito de caractere, estabelecendo-o para o processo metodológico da modelagem tridimensional da Figura Humana. Como objeto modelo da pesquisa, dedica-se a exposição sequencial e normativa da modelagem de um caractere, estruturando seus passos e a sua organização ontológica de suas propriedades conceituais, mostrando seu vínculo e fundamento na tradição dos Mestres do Renascimento. Realiza a aplicação do conceito de modelagem tridimensional de caracteres na apresentação das inovações de artistas digitais na representação atual da figura humana, as quais servem de base para as modelagens tridimensionais para a composição de personagens nos games e metaversos. Finaliza com a exposição e proposta de uma pragmática que possa nortear a modelagem de caracteres para o Design Digital de Ambientes Interativos

Employer monitoring of communications is prevalent and on the rise due in part to the Sarbanes-Oxley Act, the Health Insurance Privacy Protection Act, and other legislation in the U.S. and other countries. However, the critical effect of this new activity on what is communicated in companies has not been assessed. This dissertation examines the impacts of computer mediated communication systems monitoring on neutral, incriminating and exculpatory content, as well as the overall volume of communications issued on monitored and non-monitored computer mediated communication systems. Incriminating communication is cataloged in a hazard communications taxonomy for this investigation. A controlled laboratory experiment has subjects participate in an instant messaging discussion on a topic for which they are likely to be aware of information that is incriminating to their organization, or its members, or both. Consistent with self awareness theory, monitored subjects engage in significantly less overall and neutral communication. They volunteer fewer high intensity hazard communications, but are less likely to curtail low intensity hazard communications. They issue denials about more incriminating topics. Contributions to research include theory development, especially in the area of standard selection; application of self-awareness theory to the new domain of computer mediated communications monitoring; a research framework; a taxonomy and coding scheme for the new hazard communications constructs; and a relative standards influence instrument and methodology for use in studying competing standards. Implications for corporate monitoring and communications policies are discussed, and a research agenda is outlined.

À l'heure actuelle, les occasions de « rencontrer » des hommes du passé (ou du moins leurs représentants) se multiplient : l'exposition d'archéologie ne présente plus seulement des objets, mais fait découvrir au visiteur le mode de vie des anciens habitants d'un lieu ; les reconstitutions historiques font « revivre » des hommes du passé et mettent en scène courses de chars, artisanat et autres gestes « ancestraux » devant les yeux du public ; et enfin, les guides de monuments historiques prennent les traits de personnages-types, favorisant l'immersion et l'attachement au lieu. De la même manière, les émissions de télévision sur l'archéologie semblent de plus en plus effacer le scientifique et les vestiges du dispositif ; proposant ainsi une relation plus directe au passé et à l'homme du passé (c'est le cas par exemple de docufictions comme Homo Sapiens de Jacques Malaterre). Cette recherche questionne ainsi la relation au passé, proposée par les émissions de télévision sur l'archéologie. Comment ces films peuvent-ils créer une relation à la fois scientifique et symbolique au passé et à « l'autre » ? Quels sont les effets de cette nouvelle forme de médiation qui feint de s'effacer ? À l'inverse, quels sont les effets de l'affirmation du dispositif de médiation (dans les documentaires et les reportages) ? Pour répondre à ces questions, nous avons adopté une démarche « feuilletée », en « entonnoir ». Un corpus de référence réunit d'abord toutes les émissions sur l'archéologie, diffusées entre 1995 et 2008, sur la télévision hertzienne française. Son analyse statistique permet de dégager des tendances générales quant à la représentation de l'archéologie à la télévision. Ensuite, l'analyse sémiopragmatique d'un corpus test de 13 émissions sur Pompéi, mène à la constitution d'un modèle d'analyse de la médiation du passé et d'un outil permettant la systématisation du recueil de données sur un grand nombre d'émissions. Enfin, un troisième corpus de 51 émissions permet la vérification de ce modèle et aboutit à l'identification de quatre types de construction de la relation au passé. L'apport de l'étude est triple : 1) elle génère des connaissances sur l'objet de recherche lui-même, c'est-à-dire sur les représentations les plus courantes de l'archéologie à la télévision ; 2) elle propose une méthodologie et un modèle d'analyse de la médiation fondés sur des outils issus de la sémiopragmatique ; 3) enfin, d'un point de vue théorique, la recherche permet d'envisager la médiation, non comme un lien sociétal ou un « entre-deux », mais comme une stratégie de modulation de la distance, possible notamment grâce à l'intervention de « figures » de médiation. Ces figures sont des éléments référentiels qui cristallisent des représentations sociales et qui ont des rôles à jouer dans l'énonciation et la narrativité de l'émission

<p>Energy harvesting is an interesting topic for today since we face running out of energy source, a serious problem in the world. Thermoelectric devices are a good candidate. They can convert heat (i.e. temperature gradient) to electricity. This result leads us to use them to harvest waste heat from engines or in power plants to generate electricity. Moreover, thermoelectric devices also perform cooling by applied voltage to device. This process is clean, which means that no greenhouse gases are emitted during the process. However, the converting efficiency of thermoelectrics are very low compare to a home refrigerator. The thermoelectric figure of merit (ZT_m) is a number which defines the converting efficiency of thermoelectric materials and devices. ZT_m is defined by Seebeck coefficient, electrical conductivity and thermal conductivity. To improve the converting efficiency, nanolaminated materials are good candidate.</p><p> </p><p>This thesis studies TiN/ScN artificial nanolaminates, or superlattices were grown by reactive dc magnetron sputtering from Ti and Sc targets. For TiN/ScN superlattice, X-ray diffraction (XRD) and reciprocal space map (RSM) show that we can obtain single crystal TiN/ScN superlattice. X-ray reflectivity (XRR) shows the superlattice films have a rough surface, supported by transmission electron microscopy (TEM). Also, TiN/ScN superlattices grew by TiN as starting layer has better crystalline quality than ScN as starting layer. The electrical measurement shows that our superlattice films are conductive films.</p><p> </p><p>Ca-Co-O system for inherently nanolaminated materials were grown by reactive rf magnetron sputtering from Ca/Co alloy target. The XRD shows we maybe get the [Ca₂CoO₃]_xCoO₂ phase, so far. The energy dispersive X-ray spectroscopy (EDX) reported that our films have Al conmination. We also discovered unexpected behavior when the film grown at high temperature showed larger thickness instead of thinner, which would have been expected due to possible Ca evaporation. The Ca-Co-O system requires further studies.</p>

<p>This thesis presents hormonal, emotional, physical and visual status changes in female fibromyalgia (FMS) patients after treatment with the Creative Art therapy; dance/movement therapy, compared to controls. FMS is a syndrome of chronic pain involving musculoskeletal aches, stiffness and pain where perturbations in the stress-axis and high scores on somatic anxiety and muscular tension also have been found. The study comprises thirty-six female FMS patients divided in treatment- and control group. Serum concentrations of the hormones prolactin, dehydroepiandrosterone sulphate (DHEA-S), cortisol and neuropeptide Y (NPY) in plasma and cortisol in saliva were analysed. Different verbal self-rating scales concerning well-being, pain, personality and life events among other things have been used. Assessments of the condition of the FMS patients affected by video-viewing were evaluated together with interviews about the self-perception phenomenon of video viewing (a phenomenological hermeneutic method). </p><p>The results of the study show that six months of dance/movement therapy appears sufficient to improve both psychological and physical function, as indicated by the visual analyses. The video interpretation technique (VIT) and self-figure drawings captured treatment effects that were not evident from verbal scales or reflected in hormone levels. The biological markers probably need a longer treatment period to activate the HPA axis and its inter-related hormones and peptides. </p><p>The use of different assessment techniques most likely has affected the treatment outcome. Difficulties perceiving information through verbal/cognitive modalities as well as alexithymia are factors discussed. The VIT may be useful for early identification of maladaptive movement patterns and as a mirror of facial and bodily expressions of emotions. In conclusion, this study indicates that both the dance/movement therapy and the VIT have had great influence on the FMS patient’s well-being, self-perception and perception of pain. </p>

This thesis presents hormonal, emotional, physical and visual status changes in female fibromyalgia (FMS) patients after treatment with the Creative Art therapy; dance/movement therapy, compared to controls. FMS is a syndrome of chronic pain involving musculoskeletal aches, stiffness and pain where perturbations in the stress-axis and high scores on somatic anxiety and muscular tension also have been found. The study comprises thirty-six female FMS patients divided in treatment- and control group. Serum concentrations of the hormones prolactin, dehydroepiandrosterone sulphate (DHEA-S), cortisol and neuropeptide Y (NPY) in plasma and cortisol in saliva were analysed. Different verbal self-rating scales concerning well-being, pain, personality and life events among other things have been used. Assessments of the condition of the FMS patients affected by video-viewing were evaluated together with interviews about the self-perception phenomenon of video viewing (a phenomenological hermeneutic method). The results of the study show that six months of dance/movement therapy appears sufficient to improve both psychological and physical function, as indicated by the visual analyses. The video interpretation technique (VIT) and self-figure drawings captured treatment effects that were not evident from verbal scales or reflected in hormone levels. The biological markers probably need a longer treatment period to activate the HPA axis and its inter-related hormones and peptides. The use of different assessment techniques most likely has affected the treatment outcome. Difficulties perceiving information through verbal/cognitive modalities as well as alexithymia are factors discussed. The VIT may be useful for early identification of maladaptive movement patterns and as a mirror of facial and bodily expressions of emotions. In conclusion, this study indicates that both the dance/movement therapy and the VIT have had great influence on the FMS patient’s well-being, self-perception and perception of pain.

The objective of the proposed research is to understand the design and reliability of RF front-end building blocks using SOI CMOS and SiGe BiCMOS technologies for high dynamic-range applications. This research leads to a comprehensive understanding of dynamic range in SOI CMOS devices and contributes to knowledge leading to improvement in overall dynamic range and reliability of RF building blocks. While the performance of CMOS transistors has been improving naturally with scaling, this work aims to explore the possibilities of improvement in RF performance and reliability using standard layouts (that don't need process modifications). The total-ionizing dose tolerance of SOI CMOS devices has been understood with extensive measurements. Furthermore, the role of body contacts in SOI technology is understood for dynamic range performance improvement. In this work, CMOS low-noise amplifier design for high linearity WLAN applications and its integration with RF switch on the same chip is presented. The LNA and switches designed provide state-of-the-art performance in silicon based technologies. Further, the work aims to explore applications of SiGe HBT in the context of highly linear and reliable RF building blocks. The RF reliability of SiGe HBT based RF switches is investigated and compared with CMOS counterparts. The inverse-mode operation of SiGe HBT based switches is understood to give considerably higher linearity.

Cette thèse a pour but d'analyser le phénomène de l'ellipse dans la narration graphique afin d'y asseoir son rôle souverain. L'étude rend explicite la nature et le fonctionnement d'une technique d'écriture fondamentale qui jusqu'à présent a été reconnue de façon brève, instinctive ou implicite. S'articulant autour de trois axes, ses définitions, ses expressions et la logique de son interprétation, la thèse examine la nature et les caractéristiques de l'ellipse avant de vérifier son opérationnalité dans les bandes dessinées et de faire la lumière sur les étapes inférentielles que traverse toute interprétation possible de la figure. Pour ce faire, le premier axe revisite les concepts existants dans quelques champs d'étude principaux, soit la rhétorique, la linguistique, la littérature et la cinématographie. Une fois l'assise théorique générale posée, le deuxième axe porte un regard sur les diverses expressions de ces concepts en bande dessinée à travers une centaine d'occurrences puisées dans une vaste collection internationale, en particulier la France, les États-Unis et le Japon. Le troisième axe détermine le trajet interprétatif de ces expressions au moyen de la trichotomie inférentielle (abduction -déduction -induction) du philosophe pragmatiste Charles S. Peirce. Les recherches menées ont révélé qu'une compréhension plus complète de l'ellipse passait par d'autres figures rhétoriques de nature semblable qui, elles aussi, adoptent le non-dit et le non-montré comme lieux d'expression. La cohabitation avec ces figures et la confrontation de diverses conceptions de l'ellipse à travers différents domaines ont permis de synthétiser les résultats en une définition applicable généralement. Elles ont aussi donné lieu à une typologie générale, qui peut être modifiée pour s'adapter aux besoins particuliers; en l'occurrence, on s'est retrouvé avec une taxonomie plus détaillée des ellipses en bande dessinée qui couvre les formes des plus courues aux moins courantes. L'application de la classification à l'expression concrète de la bande dessinée a aussi révélé que le transfert des notions rhétoriques amène une modification notable du statut figural des procédés elliptiques, qui présentent un double comportement, tantôt sans aucun changement sémantique, tantôt avec modification de sens. Par ailleurs, le processus d'interprétation par l'inférence peircéenne a fourni l'outil nécessaire pour confirmer le travail incessant d'interprétation d'une bande dessinée, déterminer de façon logique l'existence d'une ellipse dans sa lecture et élucider la concordance entre les genres de raisonnement logique et les types d'ellipse. Ainsi les ellipses déductives procurent un sentiment de satisfaction dans la pratique de lecture de progression, alors que les ellipses abductives et inductives réjouissent davantage le lecteur de la compréhension, à qui elles ouvrent des horizons riches de possibilités et de probabilités. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Ellipse, Figure, Rhétorique, Taxonomie, Bande dessinée, Narration graphique, Interprétation, Peirce, Inférence, Abduction, Déduction, Induction.