Thesis (M.A.)--University of Tennessee, 2007. / Title from title page screen (viewed on Mar. 31, 2008). Thesis advisor: Michael L. Keene. Vita. Includes bibliographical references.

In 2010, my wife and I were harmed in a bombing while traveling in India. Over a thousand people were attending the outdoor Hindu ceremony along the Ganges in Varanasi but when I woke up in the rubble no one was there. I searched for my wife amidst the concrete debris, found her unconscious, roused her, and we fled. This thesis is an examination of that gap in my experience, that unlived and unknown lapse of time-- between the moment I was blown off my feet by the blast wind until I stood up again-- and how it has reshaped my life. Circling that gap, a gap now filled with surrogate memories (e.g. others' accounts of the stampede after the explosion, photos of the destruction that we never saw first-hand), this thesis looks at the history that my wife and I unwittingly stumbled into, of the Babri Mosque and the Hindu-Muslim cycle of violence surrounding its existence, its destruction and the destruction's aftermath. Mainly, however it is about the marriage of two bombing victims, two bombing victims who have nearly the same physical injuries and thus for years have fooled themselves into believing they understand what the other is going through. It circles not only the unlived bombing "experience" but also the unspoken differences between how they've both been affected by the trauma. Blast wind physics, ear anatomy and physiology (the main site of their injuries), trauma research, and Hindu, Muslim and Buddhist history and comsology are all used in service of this investigation.

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This diploma thesis deals with two literary debuts, the novel by the French writer Édouard Louis Ending with Eddy B. and the novel by the Czech author Lucie Faulerová Lapači prachu (The Dust Catchers). First, it deals with the phenomenon of art criticism as such and tries to describe various theoretical approaches to it, which can then be used in the practical analysis of critical texts. It then analyzes and attempts to interpret each of the works and analyzes their critical acceptance. In the case of Édouard Louis, these are both reviews published in Czech cultural and news periodicals and selected (most important) English-language critics published in the American, British and Irish media. In the case of Lucie Faulerová, the work deals only with Czech criticism, offering an almost complete overview of major texts evaluating Dust Catchers. The work tries to capture the different approaches of critics to both novels and to the role of the art critic as such. At the end of the work there is a comparison of works and their critical acceptance.

Cette étude a évalué la classification par équivalence (CE) de Flege (1987b, 1991), auprès de 49 participants: deux groupes de locuteurs natifs du créole saint-lucien à base lexicale française (CSLF) et deux groupes du créole saint-lucien à base lexicale anglaise (CSLA) qui étaient des apprenants de français langue étrangère. Cette étude a aussi inclus un groupe contrôle de 11 locuteurs natifs du français (NF). La CE postule qu'un apprenant d'une langue seconde ou étrangère (L2) a plus de difficultés à produire les phones de la L2 qui sont similaires (i.e. ceux ayant un phone équivalent en Ll) que ceux qui sont nouveaux (i.e. ceux n'ayant pas d'équivalent dans la Ll). A travers une tâche de lecture, nous avons comparé la prononciation des phones français [u], [y] et [â] de ces deux groupes. Selon la CE, les locuteurs du CSLF et du CSLA devraient avoir plus de difficultés à produire le [u] français (phone similaire) que le [y] (nouveau phone). Par ailleurs, le groupe CSLA devrait avoir plus de facilité à produire le nouveau phone [à] que le groupe CSLF. Aucune de ces hypothèses n'a toutefois été confirmée. La prononciation des participants a été évaluée par trois locuteurs natifs du français de la Martinique, qui ont accordé plus de scores natifs au groupe CSLF qu'au groupe CLSA pour leur production des trois phones. La différence entre ces deux groupes a été significative pour [u] et [y] mais pas pour [â]. Nous avons aussi mené des analyses acoustiques de productions de certains mots, en vue de comparer la prononciation des groupes expérimentaux à celle du groupe contrôle et de vérifier les évaluations des juges. Pour ces analyses, les participants des groupes CLSF et CLSA ont été sélectionnés de façon aléatoire. Les résultats des analyses acoustiques ont révélé que pour le phone [u], la fréquence moyenne du F2 du groupe CLSA se rapprochait davantage de celle du groupe contrôle que celle du groupe CLSF. Quant aux phones [â] et [y], la fréquence moyenne du F2 du groupe CLSF se rapprochait plus de celle du groupe NF que celle du groupe CLSA. La différence entre les groupes expérimentaux et le group NF n'était significative que pour le phone [y]. / This study tested Flege's (1987b, 1991) equivalence classification (EC) with 49 participants; two groups of St. Lucian Créole French (SLCF) speakers, and two of St. Lucian Créole English (SLCE) speakers, ail of whom were learning French as a foreign language. It also included a native control group of 11 Martiniquan French speakers (NF). According to the EC, in learning a second or foreign language (L2), "new" sounds are more easily mastered than those that are deemed to be "similar". We compared the two language groups on their pronunciation mastery of the French sounds [u], [y] and [à], via a reading task. On the basis of the EC, we hypothesized that both SLCF and SLCE speakers would have more difficulty in producing the sound [u] as compared to [y]; both groups would produce the French phone [y] with more ease. With regard to the phone [à], a similar phone to SLCF speakers, but a new one to SLCE speakers, SLCE speakers would have more difficulty than SLCF speakers. In no cases are the predictions of the EC borne out. In a blind scoring task, 3 native (Martiniquan) French speaker judges awarded nativelike scores to more SLCF speakers than SLCE speakers on ail three sounds. The differences between the 2 groups were significant for [u] and [y], but not [à]. We also carried out acoustic measurements of the productions of randomly selected participants, in order to compare the formant frequencies of the two experimental groups to those of the NF group, and to verify the native speaker judges' evaluations. For the sound [u], both groups produced formant frequencies that fell within native speaker range, with the F2 mean frequency of the SLCE group being closer to that of the NF group, than did that of the SLCF group. In the case of [à], the F2 values of both experimental groups fell within the NF range, with the mean F2 frequency of SLCF more closely approximating that of the NF group than did the SLCE group. For the phone [y], the mean F2 value of the SLCF group approximated NF values, more closely than did that of the SLCE group. Only in the case of [y] was the difference in mean F2 values between the experimental groups and the NF group significant.

This diploma theses deals with the issues of music in movies. However, it is mainly focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.

La Deuxième Guerre mondiale est l'une des périodes ayant été le plus abondamment étudiées par les historiens. La Résistance au mouvement fasciste, notamment en France, est l'un de ses aspects les plus susceptibles d'alimenter les discussions. Quelle est l'importance accordée aux femmes dans l'historiographie de la Résistance française? Quelle est la vision des auteur(e)s s'intéressant au sujet des résistantes et de leurs rôles? Ce sont les questions principales posées dans ce mémoire. Certains facteurs entourant la publication des ouvrages influencent de manière variable l'importance accordée aux femmes dans une étude. Parmi ces facteurs figurent la date de parution, le sexe de l'auteur(e) et la définition donnée du concept de résistance. De ces facteurs, le troisième est le plus déterminant. Les deux autres, liés à l'histoire des femmes et à celle du féminisme, comptent aussi mais moins directement. / Québec Université Laval, Bibliothèque 2013

Montréal Trigonix inc. 2018

This diploma theses deals with the issues of music in movies. However, it is also focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer and demonstrated the use of film music in educational practice. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.

Description des différentes étapes de la conception d'un microprocesseur pour le contrôle des automatismes de sécurité, en particulier pour les systèmes de transport. Ce microprocesseur est autotestable, c'est-à-dire capable de détecter ses propres erreurs. La conception du circuit est basée sur les hypothèses de pannes au niveau analytique dans la technologie NMOS. Les blocs fonctionnels «Strongly Fault Secure» et les contrôleurs «Strongly Code Disjoint» sont à la base des circuits «Self-checking», dits autotestables. Le circuit COBRA démontre la faisabilité d'un microprocesseur autotestable. COBRA gère indépendamment 19 signaux différents, date des événements externes, mesure des fréquences, surveille 14 entrées logiques et possède 7 sorties indépendantes. Le programme d'application de COBRA est contenu dans une mémoire morte programmable externe de 16 Koctets adressés par 14 bits multiplexés sur le bus interne de 8 bits. COBRA contient également une liaison série, une mémoire à accès direct de 64 octets et 3 temporisateurs de 14 bits indépendants ainsi qu'une unité arithmétique et logique de 8 bits, COBRA exécute un jeu de 43 instructions