Thesis explores a theory of proportion, its application within a design-build experiment, while establishing essential elements of design language. / Master of Architecture

In the texts analyzed in this thesis, nineteenth-century Paris illustrates the utopian principles formulated by Karl Mannheim whose conceptualizations concern the social and moral order that makes up human existence. His utopia is characterized by human thoughts, behaviors, and actions. In our analysis of the works by Charles Fourier, Victor Hugo, and Emile Zola, common themes emerge as each writer undertakes the task of representing the past, present, and future Paris. They describe ideas of poverty, sickness, and revolution as well as the importance of education, progress, and moral order. The most telling conclusion of utopia unveiled in the thesis is that each writer also depicts his vision of Paris with a specific and unique designation. For Fourier, a utopian Paris is described as Harmony. A harmonious state of being represents a society built on agreement, cooperation, and order. Hugo's representation of Paris comes under the epithet of Humanity and Fraternity. Hugo believes that Paris held the key to unlocking a society built on benevolence, cooperation, and camaraderie. Zola designates Paris as Modernity. For Zola, modernity creates a paradox of utopia/dystopia and order/disorder. However, Paris offers the hope of a ville beatitude wherein the well-being of all the families would be of highest priority to create happiness, security, and order. Though each writer had a different idealization of Paris, the analysis of utopian mentalities foregrounds their outlook on not only the city-space but of humanity which held much promise for harmony, happiness, and order in a future "utopian" state. / Master of Arts

Ces travaux de thèse portent sur l'étude expérimentale et numérique de structures mécaniques non-linéaires soumises à des vibrations sinusoïdales et aléatoires. L'étude prend en compte l'existence d'incertitudes au sein du protocole expérimentale et de la modélisation. Les études expérimentales menées au CEA/CESTA montrent que la réponse des structures assemblées à des sollicitations vibratoires est fortement dépendante du niveau d'excitation d'une part, et que la réponse obtenue possède une variabilité, parfois importante. Ces résultats expérimentaux ne peuvent pas être reproduits en simulation avec la méthode de simulation vibratoire linéaire déterministe classique.L'objectif de ces travaux est de proposer et de mettre en place des méthodes numériques pour étudier ces réponses non-linéaires, et de quantifier et propager les incertitudes pertinentes au sein des calculs. Cet objectif passe par l'étude de maquettes d'essai de complexité croissante et sujettes aux mêmes phénomènes vibratoires que les objets d'étude industriels du CEA/CESTA. Les méthodes de simulation vibratoire non-linéaires et les techniques numériques développées dans le monde académique sont adaptées et utilisées dans le contexte industriel du CEA/CESTA.Le premier objet d'étude est une poutre métallique bi-encastrée, dont la non-linéarité est d'origine géométrique. Le modèle associé à cette poutre est un oscillateur de Duffing à un degré de liberté très détaillé dans la littérature scientifique, et qui permet de valider les développements numériques effectués, sur les aspects de l'excitation aléatoire et de la propagation d'incertitudes. Dans un premier temps, les méthodes de tir et d'équilibrage harmonique sont étendues au cas de l'excitation aléatoire et validées sur cette structure académique par comparaison à l'expérience. Dans un second temps, une méthode de propagation d'incertitude non-intrusive est implémentée pour prendre en compte les incertitudes de modélisation identifiées.Le second objet d'étude est une maquette comportant un plot élastomère reliant une masselotte à un bâti. Le comportement non-linéaire de l'élastomère est au c\oe ur de ces travaux de thèse. De nombreux essais vibratoires sont réalisés dans un premier temps pour identifier un modèle non-linéaire de l'élastomère juste suffisant. Dans un second temps, le modèle développé est validé par comparaison aux essais en utilisant et adaptant les méthodes étendues lors de l'étude de la poutre bi-encastrée.Enfin, une maquette d'étude se rapprochant d'un cas d'application industriel est étudiée : la maquette Harmonie-Gamma. Elle compte des interfaces frottantes et des liaisons élastomères. Les essais vibratoires réalisés permettent d'identifier le comportement dynamique linéaire et non-linéaire du système et d'étudier l'évolution de la réponse en fonction du niveau d'excitation. Un modèle numérique est réalisé par éléments finis puis réduit par une méthode de sous-structuration. Les relations non-linéaires sont introduites au niveau des liaisons frottantes et élastomères. La réponse vibratoire de la structure est simulée par la méthode d'équilibrage harmonique couplée à un algorithme de continuation. Les comparaisons essais / calculs sont menées pour les excitations de type sinus balayé et aléatoire, et permettent d'analyser l'apport de chaque non-linéarité dans la réponse de la structure. / This PhD work focuses on the experimental and numerical study of nonlinear structures subjected to both harmonic and random vibrations, in the presence of modeling and experimental uncertainties. Experimental studies undertaken at the CEA / CESTA show a strong dependence of the jointed structures towards the excitation level, as well as a variability in the response for a given excitation level. These experimental results cannot be simulated using the classical determinist linear vibration simulation method.The objective of this work is to propose and set up numerical methods to study these nonlinear responses, while quantifying and propagating the relevant uncertainties in the simulations. This objective involves the study of structural assemblies of increasing complexity and subjected to the same vibratory phenomena as CEA / CESTA industrial structures. Advanced nonlinear numerical methods developed in academia are applied in the CEA / CESTA industrial context.The first test structure is a clamped-clamped steel beam that has a geometrical nonlinearity. The beam is modeled by a Duffing oscillator which is a widely studied model in the field of nonlinear dynamics. This allows for a validation of the numerical developments proposed in this work, first on the issue of random vibrations, and second on the issue of the propagation of uncertainties. The simulations are based on two techniques of reference (shooting method and harmonic balance method). Firstly, the simulation results are validated by comparison with the experimental results for random vibrations. Secondly, the harmonic balance method is used in adequation with a non-intrusive polynomial chaos in order to take into accounts the modeling uncertainties.The second test structure is a mass linked to a solid casing via a vibration-absorbing elastomeric material of biconical shape surrounded by a cage of aluminum. The nonlinear behavior of the elastomer is at the heart of this work. Various vibration tests were performed on this structure in order to identify the simplest nonlinear model possible to answer our queries. The identified model is validated through comparisons between the simulation results and the experimental results for both sine-swept and random vibrations.The central assembly of this work is an industrial assembly with friction joints and vibration-absorbing elastomeric joints, named Harmonie-Gamma. The vibration tests performed exhibit resonance modes as well as a strong dependency of the response with the excitation level. A numerical finite element model is developed and reduced with a substructuration technique. The resulting nonlinear reduced model is simulated using an harmonic balance method with a continuation method. The simulated responses are compared with the experiments and allow for an analysis of coupled nonlinearities in the CEA / CESTA industrial context.

The aural development process is governed by the attitude of the teacher, student, the time factor, methodology employed and materials available. This process and the aforementioned contributing factors are explored within the context of the current requirements of the aural and practical musicianship examination syllabi of The Royal Schools of Music, Trinity College and UNISA. Suitable methods are explored which should develop skills enabling the student to deal with sounds and their corresponding symbols, first in isolation then within a musical context with attention to the curriculum, musical skills and personal development of the student within a positive learning situation. Four main areas of development are isolated i.e. rhythm, pitch, harmony and critical ear skills. A suitable development programme is presented in each area focusing on systematic skill development. / Musicology / M.Mus. (Musicology)

The problem with which this investigation is concerned is the determination of compositional styles in terms of manners of employing monadic and dyadic intervals in the music of the common practice period. An aspect for determining style is proposed by way of comparing the frequency of occurrence of dyads and monads in selected musical examples from the baroque, classical, and romantic periods. Chapter I is a discussion of the problem and methodology of the study. Chapters II, III, and IV present analytic comparison of examples in the baroque, classical, and romantic periods respectively. Chapter V presents a summary of the findings with references to the pedagogical applications of the two-part framework principle.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

According to Ernest Gaines‘ personal experiences as a Southerner, without addressing the history of slavery, the quest for human dignity becomes meaningless. The discourses and the ideologies of the characters in AGathering of Old Men represent a call for social change. A Gathering of Old Men is however, more than just a novel about whites dominating blacks; it is a novel about the fight for humanity in spite of the threat of a new social order. The social repercussions of slavery and the denial of black manhood are central issues in A Gathering of Old Men, but Gaines also exhibits ways in which the demand for a social change in our society can bring about racial harmony.

The subject of this diploma thesis is the harmony of the visual and verbal component in childrens' books. In the theoretical part, fundamental definitions of the underlying terms (visual component, ilustrator, verbal component in its written context, writer) with respect to scientific literature are given. Further, carefully selected opinions of experts on childrens' literature are delved into and supplmeneted with author's comments. The popularization of books for children is to be credited not only to experts from the specified field, but also to individuals who promote them to the general public by recognition awards. A detailed overview of authors of the past 70 years, i.e. from the turn of the first and second half of the 20th century up until today, is presented. The harmony of both, the visual and verbal component present in their works is further enquired. Selected books are introduced and classified in terms of the connection of their text and artistic components. The practical part of this thesis introduces the aggregate of conclusions drawn from teaching four lessons on the subject of literary education and an additional lesson on art education. The book used in class was Frantisek Skala's "Jak Cilek Lidu nasel". This work presents the preparation materials, descriptions of the lessons...

Atenta a categorias poéticas em uso no fim do século XIX, esta dissertação de mestrado estuda algumas das escolhas efetuadas pelo poeta nicaragüense Rubén Darío (1867-1916) na busca de satisfazer e, ao mesmo tempo, alargar as exigências diversas de seus leitores contemporâneos. Identificam-se o artifício e a versatilidade como elementos fundamentais pelos quais o poeta obteve o apreço de seu público. O capítulo I expõe brevemente o estado atual da recepção à poesia de Darío para, então, investigar as origens do processo de constituição histórica de sua autoridade poética, ocupando-se sobretudo de algumas questões que nortearam a sua primeira recepção tanto na América como na Europa. No capítulo II, estudam-se duas categorias relevantes para uma compreensão histórica dessa poesia: elegância (preceito representativo adequado à inserção da poesia nas práticas cultas e ultracivilizadas do fim do século XIX) e harmonia (elemento de estilo que operava não só no nível fônico, na beleza sonora, como também na sintaxe, na metáfora, na métrica, na versificação, na escolha dos temas e assuntos etc.). No capítulo III, a análise de poemas selecionados procura demonstrar a pertinência do recorte proposto pela identificação de usos da elegância e da harmonia em três gêneros diversos praticados por Darío: o elogio, a epístola em verso e as \"visões\", relacionadas mais intimamente com a poética chamada simbolista. O capítulo IV aborda criticamente a noção de musicalidade, buscando ampliá-la para explicar uma série de procedimentos e técnicas pelas quais se poderão diferenciar com mais clareza as escolhas autorais e os elementos comuns às poéticas vigentes em seu tempo. / Taking into account the poetical categories in use at the end of the 19th century, this dissertation examines some of the options chosen and worked by the Nicaraguan poet Rubén Darío (1867-1916) in order to satisfy and, at the same time, expand the diverse demands of his contemporary readers. We have centered upon artifice and versatility as key elements by which the poet managed to receive his public\'s applause. Chapter I begins with the current state of the reception of Darío\'s poetry in order to investigate the origins of the process of a historical constitution of his poetical authority, focusing mainly on certain issues which lay on the base of his first reception in America as well as in Europe. In chapter II, we have studied two relevant categories for a historical comprehension of this poetry: elegance (a representative precept appropriate to the insertion of poetry into the refined and ultra-civilized practices of the late 1800s) and harmony (an element of style which operated not only for the phonic level of poetry, for the sonorous beauty, but also for syntax, for metaphor, metrics, versification, choice of themes and subjects, etc.). In chapter III, the analysis of selected poems aims at unveiling the relevance of our methodology through identifying the uses of elegance and harmony in three diverse genres practiced by Darío: the laudatory, the epistles in verse, and the \"visions\", related more closely to the poetics called by the name of \"symbolist\". Chapter IV deals critically with the notion of musicality, expanding it in order to explain a series of procedures and techniques through which we are able to differentiate more clearly between personal choices and the elements which were common to the poetical practices of the poet\'s time.

Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem. / Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.