Modern space situational awareness entails the detection, tracking, identification, and characterization of resident space objects. Characterization is typically accomplished through the use of ground and space based sensors that are able to identify some specific physical feature, monitor unique dynamical behaviors, or deduce some information about the material properties of the object. The present investigation considers the characterizaiton aspects of situational awareness from the perspective of a close-proximity formation reconnaissance mission. The present study explores both relative translational and relative rotational motion for deployment of a spacecraft and observation of a resident space object. This investigation is motivated by specific situations in which characterization with ground or fixed space based sensors is insufficient. Instead, one or more vehicles are deployed in the vicinity of the object of interest. These could be, for instance, nano-satellites with imaging sensors. Nano-satellites offer a low-cost and effective technological platform, which makes consideration of the proposed scenario more feasible. Although the motivating application is rooted in space situational awareness, the techniques explored are generally applicable to flight in the vicinity of asteroids, and both cooperative vs. non-cooperative resident space objects. The investigation is initially focused on identifying the key features of the relative dynamics that are relevant to space situational awareness applications. Subsequently, effective spacecraft control techniques are considered to achieve the reconnaissance goals. / text

O presente trabalho detém-se na leitura de textos da escritora Clarice Lispector produzidos nos anos 1940, 1950 e 1960: Perto do coração selvagem, contos de Laços de família e textos e contos de A legião estrangeira. Com a finalidade de investigar inter-relações entre literatura e outras artes na obra da escritora, o corpus foi confrontado com textos sobre as fontes e tradições da arte moderna, trabalhos críticos sobre a arte moderna no Brasil e estudos sobre o espaço moderno. A partir do conceito de \"espaço polissensorial\", proposto por Pierre Francastel, e do conceito de \"espaço em obra\", proposto por Alberto Tassinari, buscamos discutir homologias estruturais entre o espaço da narrativa clariciana e o espaço da pintura moderna. Os dois conceitos se relacionam a duas funções complementares que pensamos existir nas narrativas estudadas: a figuração e a exposição. Pela primeira, a narrativa apresenta personagens, ações, acontecimentos, eventos etc; e pela segunda, apresenta sinais do fazer. O pintor Wassily Kandinsky escreveu que o artista criador busca na aproximação com a música, a mais imaterial de todas as artes, um modo de exprimir com seus próprios meios sem que a imitação seja um fim em si. Trata-se de um aspecto observável na narradora de Perto do coração selvagem, por isso procuramos discutir de que modo a música, aludida muitas vezes na narrativa, relaciona-se com a estrutura do romance. / This work is focused on readings of Clarice Lispector\'s writings produced in the 1940s, 1950s and 1960s: the novel Perto do coração selvagem, short stories in Laços de família and texts and short stories in A legião estrangeira. Aiming at investigating the inter relations between literature and other forms of art, the writer\'s work corpus was confronted with texts on modern art\'s sources and traditions, Brazilian modern art critique and modern space studies. Based on the concepts of \"polysensorial space\" proposed by Pierre Francastel, and \"space at work\", proposed by Alberto Tassinari, structural homologies were studied between Ms. Lispector\' s narrative space and that of modern painting. The two concepts are related to two complementary functions which we believe exist in the narratives analyzed: figuration and exposition. The former introduces characters, actions, events, etc...in the narrative; the latter presents signs of acting. The painter Wassily Kandinsky wrote that the artist seeks to find in music, the most immaterial among the arts, a form of self-expression, without imitation being an end in itself. Since this is an aspect observed in the narrator of Perto do coração selvagem, we have attempted to discuss in which ways music, often alluded to in the narrative, is related to the novel\'s structure.

O presente trabalho detém-se na leitura de textos da escritora Clarice Lispector produzidos nos anos 1940, 1950 e 1960: Perto do coração selvagem, contos de Laços de família e textos e contos de A legião estrangeira. Com a finalidade de investigar inter-relações entre literatura e outras artes na obra da escritora, o corpus foi confrontado com textos sobre as fontes e tradições da arte moderna, trabalhos críticos sobre a arte moderna no Brasil e estudos sobre o espaço moderno. A partir do conceito de \"espaço polissensorial\", proposto por Pierre Francastel, e do conceito de \"espaço em obra\", proposto por Alberto Tassinari, buscamos discutir homologias estruturais entre o espaço da narrativa clariciana e o espaço da pintura moderna. Os dois conceitos se relacionam a duas funções complementares que pensamos existir nas narrativas estudadas: a figuração e a exposição. Pela primeira, a narrativa apresenta personagens, ações, acontecimentos, eventos etc; e pela segunda, apresenta sinais do fazer. O pintor Wassily Kandinsky escreveu que o artista criador busca na aproximação com a música, a mais imaterial de todas as artes, um modo de exprimir com seus próprios meios sem que a imitação seja um fim em si. Trata-se de um aspecto observável na narradora de Perto do coração selvagem, por isso procuramos discutir de que modo a música, aludida muitas vezes na narrativa, relaciona-se com a estrutura do romance. / This work is focused on readings of Clarice Lispector\'s writings produced in the 1940s, 1950s and 1960s: the novel Perto do coração selvagem, short stories in Laços de família and texts and short stories in A legião estrangeira. Aiming at investigating the inter relations between literature and other forms of art, the writer\'s work corpus was confronted with texts on modern art\'s sources and traditions, Brazilian modern art critique and modern space studies. Based on the concepts of \"polysensorial space\" proposed by Pierre Francastel, and \"space at work\", proposed by Alberto Tassinari, structural homologies were studied between Ms. Lispector\' s narrative space and that of modern painting. The two concepts are related to two complementary functions which we believe exist in the narratives analyzed: figuration and exposition. The former introduces characters, actions, events, etc...in the narrative; the latter presents signs of acting. The painter Wassily Kandinsky wrote that the artist seeks to find in music, the most immaterial among the arts, a form of self-expression, without imitation being an end in itself. Since this is an aspect observed in the narrator of Perto do coração selvagem, we have attempted to discuss in which ways music, often alluded to in the narrative, is related to the novel\'s structure.

Thèse en cotutelle En vue de l’obtention du Doctorat en Architecture de l’Université de Toulouse Jean Jaurès/ Ecole Nationale Supérieure d’Architecture de Toulouse, Et du Ph.D. Individualisé en Architecture de l’Université de Montréal, Présentée à l’Ecole Doctorale TESC Université de Toulouse Jean Jaurès. Unités de Recherche : LRA – Laboratoire de Recherche en Architecture LEAP – Laboratoire d’Etude de L’Architecture Potentielle / L’état du développement de la théorie sur les modes de représentation ne contient que peu de travaux sur la coupe architecturale, notamment au XXe siècle, époque à laquelle la notion d’espace devient un enjeu architectural propre à la modernité. Cette étude théorique établit les conditions du recours à la coupe dans l’élaboration d’une spatialité qui fournit du sens au projet. Elle propose au préalable sur une investigation des façons de voir un édifice ouvert, de la ruine à l’écorché, permettant d’extraire quelques ressorts disciplinaires de la coupe. L’exploration de sa contribution à « la résolution du projet dans l’espace » qui constitue le cœur de ce travail, est guidée par l’analyse approfondie de la fabrication d’un corpus de coupes d’espaces domestiques emblématiques du XXe siècle. Elle éclaire ainsi, in fine, sur son usage et la connaissance de son statut, au seuil de l’hyper-développement de la modélisation. / Seeing architectural space in section exploration of the section in the conception of modern space. Progress of digital technology allows hyper-developing of representation modes free from instruments which are more and more considered as obsolete to produce new spaces. However, referring to the spread which is given to the section when presenting projects, or in teaching practices, it is often described as a device for stimulating, designing and building. This theorical research observes the use and the status of section at the end of the twentieth century, at the dawning of modelling development. According to Jacques Guillerme and Hélène Vérin , section appears within surveys and studies of antic ruins as a physic reality, the one of a building truncated by its own partial collapse. Many theorists, as Barbara Stafford and Robin Evans , make a connection between section and dissection as opening modes on the inside and by the development of both practices during the Eighteenth century. According to Robin Evans, to reveal the essence of the building is the real function of architectural drawing. The approach is to explore the drawing and the evolution of sections through traces of the designing process, in order to understand how section act as a “générateur” of the project. The research question may be : How, and to which spread, architectural section has a generating dimension of space and it intervene in the elaboration process of modern houses designed after the “Resolving the project in space” ? Based on archives drawings a reference corpus of six modern emblematic houses sections designed between twenties and sixties have been observed in their representation and space. Six other emblematic houses sections conceived from seventies to two thousand ten have been observed through a comparative analysis with the reference corpus. The expected results are to detect the spatial issues raised by the section, to extend its agreed definition as a representation tool to a designing tool and to settle a methodology for analysing cut space.