A numerical circulation model of Tampa Bay, Florida is used to simulate the flow field and tidal residual circulation for 2001-2004. This model is used to investigate the effects of extreme events on the residual circulation of the bay. The three extreme events that are used in this study are: Hurricane Frances, Hurricane Jeanne, and an extreme winter frontal passage that occurred on December 26, 2004. Each extreme event was divided into phases that were chosen by wind peaks and times of velocity inflow and outflow. There were three phases to the hydrodynamics effect of Frances on Tampa Bay. Hurricane Jeanne and the winter frontal passage each had two phases. An important difference between the three extreme events is the duration of each; Hurricane Frances lasted approximately two and a half days, Hurricane Jeanne affected the bay area for about twenty-four hours, and the extratropical storm passed within 16 hours. Winds were six standard deviations higher than the 2004 mean (4.06 m s-1) during Hurricane Frances, and seven standard deviations higher during both Hurricane Jeanne and the extratropical storm. Water levels reached four standard deviations during Hurricane Frances and the extratropical storm, and two standard deviations during Hurricane Jeanne. The difference between these results is due to the timing of each event with the tides, whether it was in or out of phase with the tides. During phase 2 of Hurricane Frances there was a total volume inflow of m3, for an increase of 60% in bay volume. There was a total volume outflow during phase 3 of m3, a 28% decrease. During Hurricane Jeanne there was a total volume inflow of m3 (30% increase) and total volume outflow of m3 (14% decrease). The extratropical storm showed a total volume inflow of m3 (29% increase) and a total volume outflow of m3 (31% decrease). Though the increase and decrease of volume for each event was different, they all had the same affect on the bay, causing changes in the residual circulation over time scales of these extreme events.

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 25, 2008. Includes bibliographical references (p. 46-49).

Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [478]-494).

Zugl.: Giessen, Univ., Habil.-Schr., 2008

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Supervisors: Marianne Wheeldon and Frank Speller. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on August 6, 2009). Includes bibliographical references (p. 58-60).

Thesis (Ph.D.)--Northwestern University, 1997. / Source: Dissertation Abstracts International, Volume: 58-04, Section: A, page: 1336. Adviser: Rosemary Radford Ruether.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-23T15:47:36Z No. of bitstreams: 1 arquivototal.pdf: 1213118 bytes, checksum: b23a75b94d1c4bf3ad107a6f2f533bdc (MD5) / Made available in DSpace on 2017-08-23T15:47:36Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1213118 bytes, checksum: b23a75b94d1c4bf3ad107a6f2f533bdc (MD5) Previous issue date: 2016-07-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / L'objectif principal de ce travail est la réalisation d’une traduction en portugais du poème Le Ditié de Jehanne d'Arc de Christine Pizan. Il s’agit d’un poème écrit en 1429 sur les actes héroïques de Jeanne d'Arc pendant la guerre de Cent Ans, à partir du moment où elle rencontre le roi Charles VII dans la ville de Chinon jusqu’à la libération de la ville de Orléans du pouvoir anglais. Le travail est divisé en trois parties. Tout d’abord il y a un chapitre panoramique, afin de contextualiser le Moyen Âge dans lequel Christine de Pizan et Jeanne d'Arc ont vécu. Nous discutons les motivations et les conséquences de la guerre de Cent Ans, le moment historique où se passe le poème de Pizan. Nous finissons le chapitre abordant la vie et le travail de l’auteur Christine de Pizan, ainsi que la vie et les actes de la Pucelle. Ensuite, au troisième chapitre, nous voyons comment l'histoire littéraire traditionnelle a réduit au silence le discours féminin, et comment les Études de Genre et les Études Féministes ont contribué aux travaux sur les ouvrages écrits par des femmes à travers l'histoire. Dans ce chapitre, nous analysons la façon dont la Traductologie contribue à la récupération des oeuvres écrites par des femmes, en particulier les oeuvres médiévales, contribuant ainsi à la critique littéraire. Au dernier chapitre, nous analysons la structure du poème Le Ditié de Jehanne d'Arc en tant que poème épique. Pour terminer, nous présentons notre traduction en langue portugaise du poème et nos justificatifs de traduction. Pour cela faire, nous nous appuyons nos aux Eléments Spécifiques à une Culture (ESC) apportés par Javier Franco Aixela et les oeuvres d’Antoine Berman, Rosvitha Blume et Patrícia Peterle. / O objetivo principal desse trabalho é a realização de uma tradução para a língua portuguesa do poema Le Ditié de Jehanne d’Arc de Christine de Pizan. O poema escrito em 1429 traz os feitos heroicos de Joana d’Arc na Guerra dos Cem Anos, desde o momento em que ela se encontra com o rei Charles VII na cidade de Chinon até a libertação da cidade de Orleães do poder inglês. O trabalho está dividido em três partes. Primeiramente, fizemos um capítulo panorâmico, com o intuito de contextualizar a Idade Média em que Christine de Pizan e Joana d’Arc viveram. Também abordamos as motivações e consequências da Guerra dos Cem Anos, momento histórico em que se passa o poema de Pizan. Fechamos o capítulo abordando a vida e obra da autora Christine de Pizan, bem como a vida e os feitos de Joana d’Arc. No capítulo seguinte vemos como a história literária tradicional silenciou o discurso feminino, e como os Estudos de Gênero e os Estudos Feministas contribuíram para os trabalhos a cerca de obras escritas por mulheres ao longo da história. Neste capítulo, também vemos como os Estudos da Tradução contribuem para o resgate de obras escritas por mulheres, sobretudo as obras medievais, contribuindo para a crítica literária. No último capítulo, analisamos a estrutura do poema Le Ditié de Jehanne d’Arc defendendo a sua epicidade. Em seguida apresentamos a nossa tradução para a língua portuguesa do poema e depois as nossas justificativas tradutórias. Para as nossas justificativas tradutórias, nos apoiamos no conceito de Itens Culturais-Específicos (ICEs) trazidos por Javier Franco Aixelá, e nos trabalhos de Antoine Berman, Rosvitha Blume e Patrícia Peterle.

The primary consideration of this study is to show that Jeanne Hyvrard's work is "une litterature sacree" (a sacred literature). The author has chosen myths and symbolism from ancient mythology and from the Bible, and reinterprets these in order to fit feminine imagination. This reinterpretation testifies that she is undergoing an initiatory quest, which corresponds in Jungian terminology to the "individuation process". The first chapter concerns itself with the difficulty of using a methodological system to study a work which is, by definition, against systems. A Jungian approach, revised by a feminist archetypal theory, was chosen because of its emphasis on the non-rational notion of symbol which is also stressed by the Hyvrardian "langue symbolique du marais" (the language of marshes). Also, Jeanne Hyvrard and Jung have in common an eclectic view of the world, in order to account for its wholeness (the Hyvrardian "fusionnel"). Both share the idea that in order to establish a balance within oneself and in the world, the feminine principle has to be fully restored. The second chapter analyzes the elementary aspect of the feminine principle, i.e., the ambivalent mother archetype, sometimes devouring, sometimes nurturing. It includes the negative images of the Gorgon (Medusa), the Moirai, the octopus, as well as the analysis of the metaphor of "engulfing" with the biblical parable of Jonas and the myth of Cronus. The positive elementary character of the Great Mother figure is illustrated by the Cretean snake and dove goddess, and the myths of Noah and Demeter. Those symbolical choices, conscious and/or unconscious, are part of the "Collective Unconscious" and link Jeanne Hyvrard with the Universal. The third chapter examines the dynamic aspect of the feminine principle. Here again, there is a negative element to it which leads to madness, and the problem of expressing insanity in the language of reason is raised. In its positive expression, the transformational feminine is achieved through "la langue du marais," a symbolical language, rather inclusive than exclusive. This "language" is close to the controversial notion of feminine writing, in the way it emphasizes difference rather than separation, the language of the body, and the symbol of the "spiral" to convey a new feminine way of thinking as well as writing. In order to illustrate, symbolically, the importance of the feminine in her search for a new language, Jeanne Hyvrard has chosen three biblical stories: the parable of the fig tree (the champion of the feminine) and the vine (the plant of the patriarchal god); the myth of Abel and Cain (respectively the feminine and the masculine principles) and the one of Genesis (with an emphasis on the irreducible character of Lilith). Nevertheless, the ultimate goal of Jeanne Hvyrard's quest is not the feminine but the "fusionnel" (a world of fusion, of totality) which corresponds to the Jungian concept of "self". The fourth chapter shows how similar Jungian and Hyvrardian symbolisms are, when it comes to the illustration of the self/ "fusionnel." Alchemy and its complex network of symbols (the biblical flood, "le jeu de l'oie," the Tarot) are shown to be an outstanding example of their affinity. The conclusion underlines the fact that the "individuation process" is a lifelong adventure and in her longing for totality, Jeanne Hyvrard's next landmark stage is "la pensee-corps" (the body-mind). / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Written in 1983, the novella Gilles et Jeanne seems to be one of Michel Tournier's simpler works at first glance. Yet, for all of its simplicity, Tournier does not repress his desire to lace the tale with metaphoric and metaphysical symbolism. It is through a symbolic marriage on the battlefield that Tournier links the two characters in a sort of mystical union. All of the crimes following this ritual that precipitated Gilles descent into depravity were in fact an attempt to reunite with the departed spirit of his "spouse", either by mimetically recreating the circumstances of her death, or by metaphysically recreating the location of her eternal resting place. Joan of Arc was not canonized as a saint until 1920. Because she was burned at the stake for crimes against the church, Joan's place in Gilles' mind was in hell. This article focuses on the symbolism of catastrophic marriage in the novel. It traces the literary allusions to marriage that follow and prelude this central moment, and examine Gilles' subsequent deviant behavior through this lens. Once it has been established that this symbolic marriage was present in Tournier's work, this leads to the next important question: If Tournier deliberately employed marriage imagery in describing Gilles de Rais' relationship to Joan of Arc, what was his purpose in doing so? The article then uses the Tournier's own philosophy, the literary theory of Girard and Bataille, and examines the significance of the marriage allegory in a post-revolutionary, secularized France. The trauma of the rupture with the old regime is reflected in the violence and turmoil that is born of the titular characters' failed attempt at sacred union.