L’objectif principal du projet concerne l’étude sous contrôle IRM de nouveaux transducteurs HIFU pour la thérapie. Le premier sous-projet vise la caractérisation d’une sonde HIFU pour le traitement des varices et l’optimisation des paramètres de tir en fonction de la profondeur de la veine dans le tissu. Des mesures acoustiques avec un hydrophone ont confirmé la création d’une ligne de focalisation. Une étude ex vivo utilisant des veines humaines excisées a été réalisée avec l’IRM de température haute résolution afin d’établir des paramètres d'efficacité et de sécurité. La deuxième partie est une étude de sonde sectorielle pour le traitement du cancer de la prostate. La méthode utilisée actuellement par Ablatherm a été comparée avec la méthode sectorielle, en alternant les deux secteurs de la sonde. Les résultats montrent que la forme et les dimensions de la lésion sont les mêmes, avec un gain de temps est de 20%. Troisièmement nous avons étudié une sonde à focalisation dynamique pour le traitement du cancer de la prostate. La validation in vitro et in vivo a été effectuée. Des points focaux distants de 32 à 69mm de la sonde ont été obtenus et des séquences décrivant des lignes, des tranches et des volumes ont été testées. Les cartes de température et de dose thermique montrent que la stratégie de sonication est adéquate pour induire une dose létale homogène de la forme désirée, ce qui permet un traitement mieux adapté en fonction l’anatomie de chaque patient. L’IRM nous a permis de mesurer de façon non-invasive et en temps réel la température au sein des tissus soumis au tir ultrasonore et de visualiser le volume détruit ainsi que les tissus adjacents / The main objective of the project concerns the study of new HIFU transducers for therapy using MRI guidance. The first sub-project aims the characterization of a HIFU probe for the treatment of the varices and the optimization of the shooting parameters according to the vein depth in the tissue. Acoustic measurements with a hydrophone were carried out in order to confirm the creation of a focalization line. An ex-vivo study using human excised veins was realized using high resolution MRI temperature control in order measure efficiency and security parameters. The second part is a study of a sector switching probe for prostate cancer treatment. The method used by Ablatherm was compared with the sector switching method, by alternating the two sectors of the probe. Results show that the lesion shape and the dimensions are the same for the two methods, but the time saving is 20% for the sector switching probe. A dynamic focalization probe for the prostate cancer treatment was studied for the last experimental part. In vitro and in vivo validation was carried out. Focal points at several distances (between 32 mm and 69 mm with respect to the probe) were obtained and sequences describing lines, splits and volumes were tested. The temperature and thermal dose maps show that the sonication strategy is adequate for inducing a homogenous lethal dose of the desired form. A treatment better adapted to the anatomy of each patient can be performed with this technique. The MRI allowed us to measure in a non-invasive manner and in real time the temperature within tissues subject to ultrasonic shooting and to visualize both the ablated volume and the adjacent tissues

La thèse est organisée en trois chapitres, dans lesquels on analyse, respectivement, la relation entre la notion d’espace et trois civilisations spécifiques – les Perses, les Egyptiens, les Scythes, les peuples auxquels Hérodote consacre les portions les plus amples et longues de son ouvrage – ; les fonctions des espaces sacrés grecs et « barbares », qui peuvent être un lieu d’émerveillement, un instrument argumentatif du discours historiographique, un repère géographique ou dénotatif ; enfin, le territoire de l’œcoumène, considéré en tant qu’espace de mouvement et en tant qu’argument de débat politique et littéraire. Les logiques qui soutiennent les constructions/représentations répondent à une double nécessité : fournir des informations sur la narration, la civilisation, le groupe humain ou l’individu qui constituent le sujet du récit ; assurer que le public des Histoires participe aux mécanismes narratifs qui règlent l’accès aux savoirs collectés par l’historien et, en particulier, à sa façon de décrire les espaces. / The main purpose of this project is to try to understand the function of spaces in Herodotus’ work and, in particular, to analyze the way in which spaces may play a different role accordingly to a specific context or topic Herodotus is dealing with. A first part of the research is dedicated to the attempt of understanding how spatial descriptions are fundamental to characterize those civilizations to which Herodotus devotes a large part of his narrative (the Persians, the Egyptians and the Scythians). The second part of the research is dedicated to sacred spaces. In this section I focus on two aspects: the multiple role of the temple as thoma, landmark and proof/impulse of the historical narrative; the passages in which Herodotus describes his characters by insisting on their behaviors towards sacred spaces. A third and final part of the thesis deals with space from a more geographical perspective and it is structured in the five following paragraphs: terminology of proximity; 'epeiros'; 'eremos', 'eschatos' and knowledge; hodological and cartographic space; naming lands and seas. / La nozione di spazio è analizzata secondo una prospettiva tripartita. Nel primo capitolo mi occupo del binomio spazio/civiltà: l'obiettivo è quello di capire come la nozione di spazio venga diversamente declinata in ciascun contesto per rendere ragione delle caratteristiche preminenti delle civiltà in oggetto. Il secondo capitolo è ulteriormente suddiviso in due sottosezioni: nella prima indago le funzioni storiografiche degli spazi sacri menzionati nelle Storie; nella seconda esamino il comportamento di tre coppie di individui rispetto a uno spazio di partenza che viene sottoposto a un processo di sacralizzazione o diviene, al contrario, teatro di un’azione sacrilega. Nel terzo capitolo tratto gli spazi dell'esperienza quotidiana, prestando attenzione a tematiche quali la nozione di prossimità, l'orientamento, la divisione politica e geografica dell'ecumene, la percezione dei territori di frontiera e periferici.

This thesis is a narratological analysis of the poem “The Miracle” by Edith Södergran. The thesis uses narratological tools from Mieke Bal in order to investigate different themes mainly connected to Christological sacrificial mythology. The thesis furtermore offers a discussion that highlights the poem from a feminist theological point of view, mainly with the help of ideas developed by Catherine Keller and Anne-Sofie Eriksson. ”The Miracle” is a dialogue between a girl and a nun about a troublesome dream that the girl has. It is a dream, which the girl finds strange and it concerns the need for revenge to reach relief. The dialogue also shows the risk of a kind of oppressive forgiveness by covering unfairness, and how the girl finds her way with help from the nun. With the altar in the poem as a kind of stage, “The Miracle” offers a challenge for the church and the whole world about attitudes, and about how to be constructive and liberating. This includes questions about the need to be careful and realistic when it comes to danger as well. How can you aim for fairness and at the same time handle unfairness, at several levels? Both the girl and the nun keep progressing in their different situations, from a horizon including escatological expressions. It is not easy, but they are not tied to oppressive traditions in their way of thinking either. What makes “The Miracle” such an interesting poem is the way it directs the reader to pose several constructive questions, without offering preformed answers.

This licentiate thesis investigates fiction writing and reading in up- per secondary school in Sweden. Inspired by fanfiction I created a teaching project of derivative writing in which the students in a se- cond-year social science class wrote short stories derived from 20th century novels. They also gave peer response, both orally and in writing. Finally they wrote a reflective text about the project. The main purpose of the study is to describe and analyse the teaching project. The primary material is the students’ short sto- ries. Drawing from theories of intertextuality, most notably Genette’s transtextuality theory and fanfiction theories, I analyse how the students make use of the source text. Theories of narratology have been used to analyse techniques of storytelling, mainly characterization and focalization. In the analysis of the stu- dents’ written comments on each other’s texts I draw from re- sponse theories. The results show that the students tend to stay close to the source texts. The most common subgenre is refocalization, that is to change the perspective to one of the secondary characters’ view. Refocalization seems to be an efficient way of deepening the under- standing of the main character of the source text; in many of the students’ stories the protagonist functions as the focalized object. Which novel the students read plays an important part in how fo- calization is expressed, however. Short stories based on novels with complex focalization tend to be focalized in a variety of ways whereas stories based on novels with fixed focalization mostly fol- low the pattern of the source text. Reading the short stories and, not least, the reflective texts it becomes evident that the characters  are extremely important in this kind of literature, more so than semiotic theories of characters have acknowledged; the characters are more than merely functions. In the chapter about peer response I argue that many students write analyses of the text they are about to respond to rather than give advice about how to proceed. It is difficult to see if the response is of any help to the writer. Thus, I question whether peer response has any other effect than strength- ening the social bonds between the group members. The study shows that creative writing could very well be an in- tegral part of the education in Swedish in upper secondary school. Derivative writing may function as an alternative to traditional lit- erary analyses. Refocalizing is a way of seeing the story from a dif- ferent viewpoint, which could enhance the students’ sense of empa- thy. Questions of focalization might also lead to discussions of power. Furthermore, creative writing may make the students more attentive as writers. In the new syllabus Gy 11, however, the op- portunities for working with creative writing are, unfortunately, limited.

Este projeto de pesquisa tem como objetivo realizar um estudo comparado entre o livro Amar, verbo intransitivo, de Mário de Andrade e os roteiros jamais filmados ou publicados que o professor, roteirista e crítico de cinema Paulo Emilio Salles Gomes fez a partir do livro. A proposta da dissertação é comparar roteiros e livro, tendo como base um estudo da problemática da focalização, de modo que se busque um sentido para o conjunto de diferenças verificadas na passagem do livro aos roteiros. É central, neste projeto, tentar entender a que tipo de leitura do romance as modificações promovidas pelos roteiros servem, sobretudo no que diz respeito à construção da voz narrativa. Com isso, esperamos contribuir para os estudos da obra de Paulo Emilio Salles Gomes, bem como esmiuçar a específica leitura que os roteiros fazem do texto (e do contexto) de Mário de Andrade. / The aim of this work is to analyze the screenplays written by film critic Paulo Emilio Salles Gomes which were based on the book Fräulein, by Mário de Andrade (New York: The Macaulay Company, 1933). These screenplays were never published nor made into film. This thesis compares both the screenplays and the book, and it is based on the The Theory of Point of View in fiction. In addition, the objective is to find meaning in the differences between the book and screenplays. This will enable us to understand how these changes can offer an alternate interpretation of Andrade\'s book.

Syftet med studien är att utifrån Maria Nikolajevas feministiska narratologi uppmärksamma och undersöka stereotypa könsroller i serien 13 Reasons Why. Dessa stereotypa könsroller analyseras med hjälp av en genusteori kring det sociala könet som socialt konstruerat som feminina och maskulina karaktärsdrag. Undersökningen bygger på en narratologisk analys som utgår ifrån fokalisering (synvinkel) och genuslekt (studier i språket relaterat till kön) och studerar därmed hur kön presenteras genom olika berättarperspektiv och språkmönster. Materialet som ligger till grund för undersökningen är serien 13 Reasons Why, som visualiserar könsstereotypa situationer som ligger till grund för undersökningens analys. Analysen visar att serien är starkt influerad av feminina och maskulina karaktärsdrag och att språket i serien innehåller stora könsskillnader. Vidare styrker studien tidigare forskning om kvinnan som objekt, eftersom det genom tv-seriens val av fokalisering är tydligt att flickorna är de som är betraktade i samtligt analyserade scener. Detta är problematiskt eftersom det frångår skolans mål om att elever ska uppmuntras att finna sin unika egenart utan fördomar om kvinnligt och manligt och påverkar deras bild av hur flickor och pojkar bör vara.

Often, design problems are strongly coupled and their concurrent resolution by interacting (though decentralized) stakeholders is required. The ensuing interactions are characterized predominantly by degree of interdependence and level of cooperation. Since tradeoffs, made within and among sub-systems, inherently contribute to system level performance, bridging the associated gaps is crucial. With this in mind, effective collaboration, centered on continued communication, concise coordination, and non-biased achievement of system level objectives, is becoming increasingly important. Thus far, research in distributed and decentralized decision-making has focused primarily on conflict resolution. Game theoretic protocols and negotiation tactics have been used extensively as a means of making the required tradeoffs, often in a manner that emphasizes the maximization of stakeholder payoff over system level performance. More importantly, virtually all of the currently instantiated mechanisms are based upon the a priori assumption of the existence of solutions that are acceptable to all interacting parties. No explicit consideration has been given thus far to ensuring the convergence of stakeholder design activities leading up to the coupled decision and the associated determination of values for uncoupled and coupled design parameters. Consequently, unnecessary and costly iteration is almost certain to result from mismatched and potentially irreconcilable objectives. In this dissertation, an alternative coordination mechanism, centered on sharing key pieces of information throughout the process of determining a solution to a coupled system is presented. Specifically, the focus is on (1) establishing and assessing collaborative design spaces, (2) identifying and exploring regions of acceptable performance, and (3) preserving stakeholder dominion over design sub-system resolution throughout the duration of a given design process. The fundamental goal is to establish a consistent framework for agile collaboration that more accurately represents the mechanics underlying product development and supports interacting stakeholders in achieving their respective objectives in light of system level priorities. This aim is accomplished via improved resource management and design space exploration, augmented awareness of system level implications emanating from sub-system decisions, and increased modularity of decentralized design processes. Stakeholder synergy in design processes is enhanced via stakeholder focalization, based on the systematic communication of decision-critical information content.

The aim of this essay is to investigate to which extent the novel Kvinnor och äppelträd by Moa Martinson can be classified as a polyphonic novel. The concept polyphony was established in literary theory by the Russian language theorist and literary critic Michail Bachtin in 1929, in his book Problems of Dostoevsky’s poetics. In order to understand and comprehend the concept of polyphony I have used an interpretation due to the literature scholar Robyn McCallum. She notes that the characters in a polyphonic novel function as focalizers. All fictional characters create their own basis of social, cultural and ideological opinions and values, from which they provide their particular perspective on the story. Therefore, when fictional characters and their socio-ideological viewpoints intersect, a rather complex structure of interaction, dialogues and intersubjectivity is created between them.  Kvinnor och äppelträd is according to the most prominent scholar in the field, Ebba Witt-Brattström, a polyphonic novel. Her presumption is based upon the plurality of voices that is expressed in the novel, and the ambiguous interaction between them. However, to the best of my knowledge, no profound investigation of the novel’s polyphonic structure has yet been undertaken, and therefore this essay is dedicated to this task. For this purpose I have performed an analysis of the narratology in the novel, resulting in the overall conclusion that Kvinnor och äppelträd is indeed a polyphonic novel. Since the concept of polyphony also implies a modernistic feature, one can discuss the fact that Kvinnor och äppelträd has been classified as working class literature, and not modernistic literature. The final conclusion of the essay is that the complex polyphonic structure of the novel, and its controversial and pioneering content, have been underestimated and ignored. Regarding this aspect Moa Martinson should have been categorized under the Swedish literary modernism.

Este projeto de pesquisa tem como objetivo realizar um estudo comparado entre o livro Amar, verbo intransitivo, de Mário de Andrade e os roteiros jamais filmados ou publicados que o professor, roteirista e crítico de cinema Paulo Emilio Salles Gomes fez a partir do livro. A proposta da dissertação é comparar roteiros e livro, tendo como base um estudo da problemática da focalização, de modo que se busque um sentido para o conjunto de diferenças verificadas na passagem do livro aos roteiros. É central, neste projeto, tentar entender a que tipo de leitura do romance as modificações promovidas pelos roteiros servem, sobretudo no que diz respeito à construção da voz narrativa. Com isso, esperamos contribuir para os estudos da obra de Paulo Emilio Salles Gomes, bem como esmiuçar a específica leitura que os roteiros fazem do texto (e do contexto) de Mário de Andrade. / The aim of this work is to analyze the screenplays written by film critic Paulo Emilio Salles Gomes which were based on the book Fräulein, by Mário de Andrade (New York: The Macaulay Company, 1933). These screenplays were never published nor made into film. This thesis compares both the screenplays and the book, and it is based on the The Theory of Point of View in fiction. In addition, the objective is to find meaning in the differences between the book and screenplays. This will enable us to understand how these changes can offer an alternate interpretation of Andrade\'s book.

Cette thèse en linguistique contrastive décrit et met en opposition les propriétés syntaxiques ainsi que les fonctionnements pragmatico-discursifs de parce que en français parlé dans le septième arrondissement de Paris et de certains de ses équivalents en arabe parlé à Tripoli (Libye) : liʔǝnna, ʕlēxāṭǝṛ, māhu et biḥkum.Pour ce qui concerne l’arabe parlé à Tripoli, ces ligateurs peuvent appartenir à deux classes grammaticales différentes : ils peuvent être des ligateurs conjonctionnels et/ou des ligateurs prépositionnels. Cela dépend de leur degré de grammaticalisation. Alors que liʔanna et māhu sont des ligateurs conjonctionnels qui introduisent des propositions subordonnées organisées autour de prédicats verbaux ou non-verbaux, ʕlēxāṭǝṛ et biḥkum peuvent s’employer comme ligateurs prépositionnels et introduire des compléments circonstanciels, ou grammaticalisés comme ligateurs conjonctionnels et introduire des propositions causales.De plus, ces ligateurs peuvent occuper une position canonique lorsque le ligateur suit une proposition principale et introduit une causale, ou une position non-canonique pour laquelle il existe deux cas de figure : soit l’énoncé commence par la causale qui est introduite par un ligateur de cause et la causale est suivie par la proposition principale, soit l’énoncé commence par la proposition principale qui est suivie par la causale qui n’est pas introduite par un ligateur de cause ; ce dernier se trouve en fin de causale et clôture l’énoncé. D’un point de vue pragmatique, la modification de l’ordre des constituants, lorsque les ligateurs et les causales ne sont pas en position canonique, permet de focaliser la causale.Contrairement à l’arabe de Tripoli, l’examen du Corpus du Français Parlé Parisien des années 2000 (CFPP2000) montre que parce que est un ligateur conjonctionnel et introduit des propositions causales qui s’organisent autour de prédicats verbaux, très rarement averbaux.De plus, parce que peut occuper une position canonique lorsque le ligateur suit une proposition principale et introduit une causale et non canonique lorsque parce que suit le présentatif c’est et introduit une causale. Mais il ne peut pas être postposé. Il n’accepte pas non plus de suffixe.En outre, parce que peut être repris mais sous la forme réduite « que », lorsqu’il introduit plusieurs propositions causales. On remarque alors une série de « que ».Parce que ne peut pas non plus relier deux énoncés coordonnés par la préposition et. D’un point de vue pragmatique lorsque l'énoncé commence par c'est parce que, cette structure permet de focaliser la causale. / This contrastive linguistic thesis describes and contrasts the syntactic properties and the pragmatic-discursive function of parce que in spoken French in the seventh district of Paris and some of its Arab equivalents in spoken Arabic of Tripoli (Libya): liʔǝnna, ʕlēxāṭǝṛ, māhu and biḥkum.Regarding the spoken Arabic of Tripoli, these ligators may belong to two different grammatical classes: they may be conjunctional ligators and / or prepositional ligators. It depends on their degree of grammaticalization. While liʔanna and māhu are conjunctional ligators that introduce causal clauses organized around verbal or non-verbal predicates, ʕlēxāṭǝṛ and biḥkum can be used as prepositional ligators and introduce circumstantial complements or be grammaticalized as conjunctional ligators and introduce causal clause.In addition, these ligators can occupy a canonical position when the ligator follows a main clause and introduces a causal clause or a non-canonical position for which there are two cases : either the utterance begins with the causal which is introduced by the ligator of cause and is followed by the main clause, or the utterance begins with the main clause which is followed by the causal not introduced by a ligator of cause; the latter is found at the end of the causal and closing the utterance. From a pragmatic point of view, changing the order of the constituents when ligators and causal clauses are not in canonical position allows the focalization of the causal clause.Unlike the spoken Arabic of Tripoli, the examination of the “Corpus Français Parlé Parsien des années 2000 (CFPP2000)” shows that parce que is conjunctional ligator. It introduces a causal clause organized around verbal predicate, rarely non-verbal.Parce que can occupy a canonical position when the ligator follows a main clause and introduces a causal clause and a non-canonical position when parce que follows c’est and introduces a causal clause. However, it cannot be postponed and it does not accept either suffix.When parce que introduces several causal clauses, it may be found but in reduced form que, giving a series of que.In addition, parce que cannot connect two utterances coordinated by the preposition et. From a pragmatic point of view, when the utterance begins with c’est parce que this structure allows to focalisation of the causal clause.