La première partie résume l’histoire de la question « Luc et Paul » en trois phases : (1) l’histoire ancienne, (2) la recherche historicocritique, marquée par la construction du « paulinisme » dans le cadre de l’exégèse luthérienne allemande, (3) les quarante dernières années, qui voient un tournant méthodologique (délaissement des approches historiques au profit des approches synchroniques) et théologique (New Perspective sur Paul, lectures de Luc « le théologien »). La deuxième partie pose les bases herméneutiques. Le problème des présupposés théologiques n’invalide pas la question, mais invite à une herméneutique centrée sur le texte. Sémiotique de l’énonciation, approche narrative, pragmatique de la communication et psychanalyse orientent une lecture attentive à la lettre et une méthodologie sciemment éclectique.Sur la base d’un point de contact littéraire entre Luc et Paul, le verbe δικαιόω (« justifier »), la troisième partie analyse quelques textes du 3e évangile. Luc opère un déplacement par rapport au creuset du judaïsme hellénistique auquel il forge son récit. La justice (δικαιοσύνη, δικαιός) est dévoilée comme un des lieux imaginaires où l’humain prétend,à tort, s’identifier. La promesse (l’Évangile) est indépendante du statut éthique, sans que l’importance propédeutique de ce dernier soit niée. En ce sens, le discours lucanien peut être considéré comme une lecture légitime et féconde de la théologie paulinienne. Sans en être une transcription narrative systématique (même s’il lui emprunte quelques termes et motifs), l’évangile de Luc semble traversé par une sorte de « conversion » du langage, une rupture épistémologique analogue au « Christ crucifié » de Paul. / The first part synthesises the history of the issue « Luke and Paul » in three phases : (1) ancient history, (2) historical-critical research, marked by the construction of « Paulinism » within the framework of German Lutheran exegesis, (3) the last forty years, which have seen both a methodological (preference being given to a synchronic rather than historicalapproach) and a theological turn (New Perspective on Paul, reading of Luke « the theologian »). The second part lays hermeneutic bases. The problem of theological presuppositions does not invalidate the question, but encourages hermeneutics centred on the text. Semiotics of the enounciation, narrative approach, pragmatics of communication and psychoanalysis orient a reading focused on the text and a purposely eclectic methodology. On the basis of a point of literary contact between Luke and Paul, the verb δικαιόω (« justify »), the third part analyses some texts from the 3rd Gospel. Luke differs his recital with regards to the crucible of hellenistic judaism. Justice (δικαιοσύνη, δικαιός) is portrayed as one of theimaginary places to which human being claims, wrongly, to identify himself. The promise (the Good News) is independant of ethical status, without denying its importance as propaedeutics. In this sense, Luke’s writings may be considered a legitimate and fruitful reading of Pauline theology. Without being a systematic narrative transcription of it (even though he borrows some terms and motifs), the Gospel of Luke seems to contain a sort of « conversion » of the language, an epistemiological rupture analogue to the « crucified Christ » of Paul.

The label ‘Muslim’ is increasingly being used to exclude migrants and non-ethnic Germans from German society. Although this process began after 2000 when Germany’s citizenship laws changed from jus sanguinis to incorporate an element of jus soli and minority subjects could no longer be ‘othered’ by their passports alone, it intensified shortly afterwards due to the terrorist attacks of 9/11 (Spielhaus 2006). Specifically within the German context, the discovery that Mohamed Atta, one of the perpetrators of 9/11, had lived and studied in Hamburg, the foiled bomb plots of 2006 and 2007, and the 2011 Frankfurt Airport shooting all served to buttress this paradigmatic shift from national/ethnic difference to religious. Yet, rather than responding in kind to this identitarian entrenchment, the work of Zafer Şenocak, SAID, Feridun Zaimoglu and Navid Kermani (all minority writers of varying Muslim backgrounds) suggests new ways of thinking about community, identity and religiosity that are fluid, non-foundational and open to an undecided future, which can all be illuminated by Jean-Luc Nancy’s theories of the ‘inoperative community’ (2000 and 1991) and the deconstruction of monotheism (2008).For Nancy, the traditional understanding of community as the fusion of immanent individuals with a common identity must be resisted, as this disguises our actual ontological interrelatedness as ‘singular beings’ who are radically open to one another. This non-foundational approach regards the spacing of interconnected singular beings (their ‘being-in-common’) as the sense of the world, and rejects universalising ideologies that seek to confer sense upon the world from the outside, since these act to close down meaning and divide us up into polarised communities. In Nancy’s terms, whether these ideologies be political or religious, they are both defined by the monotheistic paradigm that operates through a separate ideal world that acts as our world’s guiding principle. This is why Nancy himself rejects the term cosmopolitanism, as its philosophical roots in the metaphysics of the Enlightenment stem from the ideal world of pure Reason. Nevertheless, just as the inoperative community can be understood as a non-foundational route to cosmopolitan solidarities, the deconstruction of monotheism too leaves space for a non-foundational religiosity that resists traditional identities and symbolism. Nancy proposes, borrowing from mysticism, a God not as ‘the “other world” [...], but the other of the world’ (2008, p. 10), that is to say, a religiosity that does not position God as the subject of the world and its organizing principle, but concerns itself instead with glimpsing the divine in the alterity in our world, which results from the very nothingness of its origins. These arguments, that I place at the forefront of post-9/11 debates surrounding cosmopolitanism and religion, can shed light on the literary writing of Şenocak, SAID, Zaimoglu and Kermani, who draw upon the immanentist tradition within Islamic mysticism in order to intimate a non-identitarian religiosity that figures in the alterity of the world and leaves open all possibilities for the future. In this regard, their fiction hints at an affective and worldly spirituality that can be found in love, sex, music and the natural world, which, whilst also serving to dispel stereotypical associations between Islam and sexual conservatism, hints at a post-monotheistic religiosity beyond identity and ideology. Thus, rather than creating a homogenous foundation through dialogue (the approach of the German state and often of interkultureller Germanistik), the non-foundational and cosmopolitan conceptualisations of the self, community and religiosity found in the writing of these authors both undermine the closed identities that are clashing violently across the globe at the start of the twenty-first century and also open up the space for us to imagine new ways of coexisting.

This thesis examines the politics of foundations in modern political thought through a reading and immanent critique of Hobbes’s Leviathan. I argue that his thought exemplifies a specifically modern problem of foundations insofar as he must establish political and scientific foundations on the basis of precisely the impossibility of foundation. Hobbes’s account of political founding and the establishment of scientific foundations is first and foremost a response to a condition of finitude in which foundations are no longer given or available but nevertheless demanded. While it appears that Hobbes describes the finitude of ‘Man’ and natural bodies and derives his political theory from these, in fact for Hobbes these no longer provide given foundations for political thought, but must themselves be posited in acts of political and epistemological projection. Hobbes’s politics of foundations therefore demands that we fabricate political and scientific foundations for ourselves and act as if they are not incalculable postulations but calculable necessities. I call this the problem of projection, in which political knowledge is possible only because we make it and posit it ourselves. Through a reading of the role of the metaphor of making in Hobbes’s account of political origins and sovereignty, I argue that this reading of Hobbes’s politics of origins as the institution of foundations in the face of the impossibility of foundation exposes finitude as a groundlessness to which there is no necessary political response. It does not necessarily demand the production of foundations through the institution of sovereignty. Hobbes’s Leviathan therefore provides a site in which we might begin to ask more precise empirical and theoretical questions about the transformative possibilities in the modern politics of foundations. / Graduate

Cette thèse, qui a pour objet dʼétude un seul film, celui de Jean-Luc Godard intitulé : HISTOIRE(S) DU CINÉMA, se compose de deux mouvements spéculaires distincts : avant le film et après le film.La première partie de notre thèse tente ainsi de produire la généalogie du film, c'est-à-dire à établir les divers et nombreux projets qui ont abouti aux multiples versions, qui ont été diffusées de façon parcellaires. La date que nous avons fait figurer dans notre titre correspond au plus large encadrement possible, correspondant entre son premier projet d'écriture : "Moi, Je" en 1973 et la date de sortie de la toute dernière version du film : "Moments choisis des Histoire(s) du cinéma" en 2004.Ensuite dans une seconde partie, notre réflexion a visé à interroger sur deux sortes d'éléments antérieurs qui ont donc prédéterminé a vouloir faire ce film. le premier étant Godard lui-même et les traces quʼil a laissé avant le film et le second domaine concerne les personnes autour de lui qui ont été des figures tutélaires : Langlois, Malraux et Bazin. La troisième partie entame l'aspect qu'on a nommé après le film. Il consiste à produire une critique du film en conduisant d'abord notre propre subjectivité à opérer un plan par plan précis des quinze premières séquences, relevant le pari qu'elle nous fournit une gamme esthétique relativement représentative du film. Ensuite nous avons répertorié un grand nombre de critiques qui ont été faites (jusqu'en 2008) car cela nous semble révélateur des types de discours quʼon tient devant le film, révélant cet objet filmique dans le monde cinéma. D'une certaine vue nous avons établi une pré-bibliographie du film par laquelle cette étude se termine. / This thesis, have the object of a lonely film, that Jean-Luc Godard titled: Histoire(s) du Cinema (meaning History(ies) of Cinema) It consists of two distinct specular studies movements: before the film and after the film. The first part of our thesis try to produce a genealogy of this film. So by establishing the various and numerous projects that have resulted in a multiple versions, which have been disseminated in a parcel of time. The date that we have shown in our title corresponds to the widest possible framing, corresponding between his first writing project: « Moi, Je » (meaning Me, Myself & I) in 1973 and the releasing date of his latest version of the movie: « MOMENTS CHOISIS D’HISTOIRE(S) DU CINÉMA » (meaning Selected Moments of History(s) of Cinema "in 2004. Then in a second part, our reflection aimed at questioning two kinds of earlier elements which therefore predetermined to want to make this movie. The first being Godard himself and the traces he left before the film and the second domain concerns some people around him who were the Guardian figures: Langlois, Malraux and Bazin.The third part begins the aspect that was named after the film. It consists in producing a critique of the movie by first leading our own subjectivity to operate a plan by precise plan of the first fifteen sequences, raising the bet that it provides us with a fairly representative aesthetic range of the film. Then we have listed a lot of criticisms that have been made (up to 2008) because it seems indicative of the types of speeches that we hold in front of the film, revealing this cinematic object in the world of cinema. From a certain view we have established a pre-bibliography of the film by which this study ends.

<p>Med utgångspunkt i teoribegreppen fysionomi och fotogeni analyseras närbilderna av Anna Karinas ansikte i Vivre sa vie (Jean –Luc Godard, 1962). Arbetet inleds med en teoretisk re-dogörelse av begreppens uppkomst, innebörd och användningsområde. Fokus i den här delen är kring Jean Epstein och Béla Balázs texter om begreppen och dess framväxt på 1920-talet. Vivre sa vie är uppdelad i 12 episoder, i 6 av dem förekommer närbilder av ansiktet som ingår i arbetets filmanalys. Syftet är att hitta spår av begreppen i närbilderna, samt av resultatet där-ifrån undersöka tolkningsvarianter av närbildernas narrativ.</p><p>Genom att ställa begreppen mot varandra och koppla dem till senare teorier inom området, belyses och problematiseras diskursen ytterligare. Filmbilder som plockas ur sitt sammanhang och sätts ihop efter varandra skapar nya narrativa aspekter, detta undersöks i arbetet. Kopplingar görs till dansken Carl.T. Dreyers filmstil i slutet av stumfilmsepoken. Andra äm-nen som behandlas i uppsatsen är identitetsproblematiken i den moderna storstaden och dis-kursen kring bildens moral och konstens aura.</p><p>Teorier kring filmens narrativ kopplas främst till David Bordwell´s text Narration in the Fic-tion Film. Där han menar att Vivre sa vie handlar om problem med kommunikation på olika sätt. Vidare menar han att filmens handling kan tolkas som att den kretsar kring filmmediet generellt. Resultatet av filmanalysen gav utläsbara spår av fysionomi i ansiktets mimik. Det var besvärligare att visa på närbildernas fotogena innehåller. I filmens ljud och i abstraktionen av ansiktet finns dock kopplingar till fotogenibegreppet.</p>

Ce travail représente une contribution pour progresser dans la compréhension du phénomène complexe des glissements de versants sédimentaires sur des plans de stratification. On a combiné les approches géologique et mécanique, de façon à analyser les expériences et concepts qui les influencent, directement ou indirectement. Un versant sédimentaire, est le résultat d'une série de phénomènes naturels (dépôt, diagénèse, épigénie, contraintes tectoniques, érosion, etc.), qui ont déterminé et/ou modifié ses caractéristiques et propriétés mécaniques (hétérogénéité, anisotropie, discontinuités, déformations, inclinaison, etc.). Ici la considération de l'effet d'échelle est fondamental. D'autre part, le glissement d'un versant n'a lieu que lorsque les conditions géologiques et mécaniques sont favorables; leur recherche est l'objectif des études de stabilité. Les méthodes et formules courantes pour le calcul de la stabilité des masses rocheuses, représentent mal les conditions des versants. La taille de ces structures (10/4 à 10/8 m3), est à l'origine d'une forte hétérogénéité de la résistance au glissement et des conditions d'équilibre; les déformations tectoniques le long des joints peuvent invalider les formules de résistance au cisaillement, surtout entre des couches à module de déformation contrasté. L'évaluation de la résistance au glissement sur un plan de stratification doit considérer, en plus des conditions géologiques, les matériaux qui s'y trouvent, la morphologie de la surface et l'influence de l'eau. L'analyse de stabilité d'un versant, doit être axée vers la détermination de l'influence de la variation des divers facteurs qui contrôlent l'équilibre, !e «coefficient de sécurité» n'ayant pas une signification intinsèque utile. On présente l'analyse rétrograde du Claps-de-Luc (Drôme), écroulement historique dont une grande partie de la surface de glissement est encore visible. La reconstitution topographique est décrite, et on déduit, à partir de l'analyse de l'influence sur la stabilité de plusieurs conditions, la cause probable du glissement.

Communicating bits over a network is expensive. Therefore, cryptosystems that transmit as little data as possible are valuable. This thesis studies several cryptosystems that require significantly less bandwidth than conventional analogues. The systems we study, called torus-based cryptosystems, were analyzed by Karl Rubin and Alice Silverberg in 2003 [RS03]. They interpreted the XTR [LV00] and LUC [SL93] cryptosystems in terms of quotients of algebraic tori and birational parameterizations, and they also presented CEILIDH, a new torus-based cryptosystem. This thesis introduces the geometry of algebraic tori, uses it to explain the XTR, LUC, and CEILIDH cryptosystems, and presents torus-based extensions of van Dijk, Woodruff, et al. [vDW04, vDGP⁺05] that require even less bandwidth. In addition, a new algorithm of Granger and Vercauteren [GV05] that attacks the security of torus-based cryptosystems is presented. Finally, we list some open research problems.

Communicating bits over a network is expensive. Therefore, cryptosystems that transmit as little data as possible are valuable. This thesis studies several cryptosystems that require significantly less bandwidth than conventional analogues. The systems we study, called torus-based cryptosystems, were analyzed by Karl Rubin and Alice Silverberg in 2003 [RS03]. They interpreted the XTR [LV00] and LUC [SL93] cryptosystems in terms of quotients of algebraic tori and birational parameterizations, and they also presented CEILIDH, a new torus-based cryptosystem. This thesis introduces the geometry of algebraic tori, uses it to explain the XTR, LUC, and CEILIDH cryptosystems, and presents torus-based extensions of van Dijk, Woodruff, et al. [vDW04, vDGP⁺05] that require even less bandwidth. In addition, a new algorithm of Granger and Vercauteren [GV05] that attacks the security of torus-based cryptosystems is presented. Finally, we list some open research problems.

The main theme of this thesis is to study the isometric algebra isomorphisms and the bipositive algebra isomorphisms between various Banach algebras associated with locally compact groups. Let $LUC(G)$ denote the $C^*$-algebra of left uniformly continuous functions with the uniform norm and let $C_0(G)^{\perp}$ denote the annihilator of $C_0(G)$ in $LUC(G)^*$. In Chapter 2 of this thesis, among other results, we show that if $G$ is a locally compact group and $H$ is a discrete group then whenever there exists a weak-star continuous isometric isomorphism between $C_0(G)^{\perp}$ and $C_0(H)^{\perp}$, $G$ is isomorphic to $H$ as a topological group. In particular, when $H$ is discrete $C_0(H)^{\perp}$ determines $H$ within the class of locally compact topological groups. In Chapter 3 of this thesis, we show that if $M(G,\omega_1)$ (the weighted measure algebra on $G$) is isometrically algebra isomorphic to $M(H,\omega_2)$, then the underlying weighted groups are isomorphic, i.e. there exists an isomorphism of topological groups $\phi:G\to H$ such that $\small{\displaystyle{\frac{\omega_1}{\omega_2\circ\phi}}}$ is multiplicative. Similarly, we show that any weighted locally compact group $(G,\omega)$ is completely determined by its Beurling group algebra $L^1(G,\omega)$, $LUC(G,\omega^{-1})^*$ and $L^1(G,\omega)^{**}$, when the two last algebras are equipped with an Arens product. Here, $LUC(G,\omega^{-1})$ is the weighted analogue of $LUC(G)$, for weighted locally compact groups. In Chapter 4 of this thesis, we show that the order structure combined with the algebra structure of each of the Banach algebras $L^1(G,\omega)$, $M(G,\omega)$, $LUC(G,\omega^{-1})^*$ and $L^1(G,\omega)^{**}$ completely determines the underlying topological group structure together with a constraint on the weight. In particular, we obtain new proofs for a previously known result of Kawada and results of Farhadi as special cases of our results. Finally, we provide an example of a bipositive algebra isomorphism between Beurling measure algebras that is not an isometry. We conclude this thesis with a selective list of open problems. / February 2016

Med utgångspunkt i teoribegreppen fysionomi och fotogeni analyseras närbilderna av Anna Karinas ansikte i Vivre sa vie (Jean –Luc Godard, 1962). Arbetet inleds med en teoretisk re-dogörelse av begreppens uppkomst, innebörd och användningsområde. Fokus i den här delen är kring Jean Epstein och Béla Balázs texter om begreppen och dess framväxt på 1920-talet. Vivre sa vie är uppdelad i 12 episoder, i 6 av dem förekommer närbilder av ansiktet som ingår i arbetets filmanalys. Syftet är att hitta spår av begreppen i närbilderna, samt av resultatet där-ifrån undersöka tolkningsvarianter av närbildernas narrativ. Genom att ställa begreppen mot varandra och koppla dem till senare teorier inom området, belyses och problematiseras diskursen ytterligare. Filmbilder som plockas ur sitt sammanhang och sätts ihop efter varandra skapar nya narrativa aspekter, detta undersöks i arbetet. Kopplingar görs till dansken Carl.T. Dreyers filmstil i slutet av stumfilmsepoken. Andra äm-nen som behandlas i uppsatsen är identitetsproblematiken i den moderna storstaden och dis-kursen kring bildens moral och konstens aura. Teorier kring filmens narrativ kopplas främst till David Bordwell´s text Narration in the Fic-tion Film. Där han menar att Vivre sa vie handlar om problem med kommunikation på olika sätt. Vidare menar han att filmens handling kan tolkas som att den kretsar kring filmmediet generellt. Resultatet av filmanalysen gav utläsbara spår av fysionomi i ansiktets mimik. Det var besvärligare att visa på närbildernas fotogena innehåller. I filmens ljud och i abstraktionen av ansiktet finns dock kopplingar till fotogenibegreppet.