Deux approches nous ont permis d'améliorer la compréhension des modes de convection dans le manteau terrestre. Nous avons étudié expérimentalement les mouvements de fluides visqueux dans une cuve chauffée latéralement et refroidie par le dessus. La convection à petite échelle qui se développe par déstabilisation de la couche limite thermique froide, analogue de la lithosphère océanique, s'organise en présence de l'écoulement cisaillant de la tectonique des plaques. Elle prend alors la forme de rouleaux stationnaires ou de panaches, deux régimes possibles dans le cas de la Terre. L'interaction d'un panache avec la lithosphère a quant à elle été étudiée grâce à une analyse précise des observables géophysiques associées au point chaud d'Hawai'i. L'évolution temporelle des volumes du bombement et des édifices volcaniques met en évidence une importante augmentation de l'activité de ce dernier depuis 30 Ma. Le taux de production magmatique en est le meilleur indicateur.

No description available.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 84-87).

<p>  </p> <p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p> <p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>

In der hawaiianischen Vorstellung steht das Land in einer Kinship- oder Verwandtschaftsbeziehung als lebendes und atmendes Familienmitglied, von dem man abstammt. Aloha 'Aina („Liebe zum Land“) ist eine Onto-Epistemologie der Indigenen auf Hawai'i, analog zu anderen gemeinschaftlichen Organisationsformen, die Mensch, Nicht-Mensch und Natur als miteinander verbunden betrachten, wie etwa im Glauben der Haudenosaunee. Anstatt Aloha 'Aina als eine Methode der „dekolonialen Klimagerechtigkeit“ zu präsentieren, die im globalen Norden nachgeahmt werden soll, und damit Aloha 'Aina von jenem „Land“ zu entfernen, theoretisiere ich ein ortsbezogenes Konstrukt, das ich „Spirit of Relationality“ nenne. Ich verknüpfe das hawaiianische Aloha 'Aina mit der politischen Theorie des Interkommunalismus des Black Panther Huey P. Newton, um dekoloniale Formen globaler Klimagerechtigkeit für nicht-Indigene Positionalitäten zu entwickeln. Der Zweck dieser Verbindung war es, den „Geist“ innerhalb der postmarxistischen Theorien neu zu verorten, wie sie von Vanessa Watts (Haudenosaunee & Anishinaabe) kritisiert werden, da dieser Geist für eurozentrische Perspektiven entfernt wurde. Indem ich hawaiianische Geschichten und zeitgenössische Poesie analysiere, vergleiche ich auch Vorstellungen von lokalem Glauben anderswo, wie auf den Philippinen und im Ästuargebiet, durch die Verbundenheit des Pazifiks und von fluidem Wasser und Luft. Metaphern von Spirit/Geist und Kinship, sowie eine materialistische Analyse des Antikolonialismus und der Arbeiterbewegung auf Hawaii führten dazu, dass ich meine eigenen Konzepte als „Pneumaterialismus“ bezeichnete. Dies ergibt sich aus der Metaphorik von „pneuma“ als liminaler Geist und hawaiianischem „ea“ („Atem,“ „Leben,“ „Wiederaufleben“), mit Wortspielen zur Metaphysik und Antagonismen zwischen Materialismus/Materie und Idealismus. Die Dynamik interkultureller und organischer Symbiosen und indigener Solidaritäten bildet ebenfalls die Grundlage dieser Metaphern. / In Indigenous Hawaiian conceptualization land is relational, a living and breathing family member that one is descended from. Aloha 'Aina (“love of the land”) is an Indigenous way of knowing and being in Hawai'i, analogous to other communal forms of organization that consider human, non-human, and nature as interrelated, such as in Haudenosaunee beliefs. Instead of presenting Aloha 'Aina as a method of “decolonial climate justice” to emulate within the global North, and thus remove Aloha 'Aina from its land, I theorize a place-based construct I call “spirit of relationality.” I connect Hawaiian Aloha 'Aina with Black Panther Huey P. Newton’s political theory of Intercommunalism towards decolonial forms of global climate justice for non-Indigenous positionalities. The purpose of this connection was to relocate “spirit” within post-Marxist theories, as critiqued by Vanessa Watts (Haudenosaunee & Anishinaabe) of having been removed for Eurocentric perspectives. Analyzing Hawaiian stories and contemporary poetry, I also compare notions of localized beliefs elsewhere, such as in the Philippines and in the estuary space, through the connectedness of the Pacific Ocean, in-flux waters, and air. Metaphors of spirit/ghost and kinship, as well as materialist analysis of anticolonialism and labor organizing in Hawai'i, led to labelling my own concepts as “Pneumaterialism.” This is from metaphors of “pneuma” as in-between spirit and Hawaiian “ea” (“breath,” “life,” “resurgence”), with wordplay on metaphysics and antagonisms between materialism/matter and idealism. Dynamics of intercultural and organic symbiosis and Indigenous solidarities also ground these metaphors.

Abstract Not Available.

Return is a video-based installation which includes sound, performance, and textile elements. Leilani Bascom is the lone actor navigating the water and where the water meets the land in this personal project exploring concepts of the life cycle from birth to death and rebirth. Life's paradox of struggle and release unfolds with imagery of battling through waves to swim deep underwater, fighting a river current and then surrendering to the flow, and carving a hole in the sand to climb into and be held. Viewers are immersed in the movement and sounds of water to witness the power and meaning of our first home and what sustains us.