L'objectif de ce travail concerne l'étude de deux classes de catalyseurs, les oxydes mixtes (CuO/Al2O3, CuAl2O4, CuO-CuCr2O4, CuO-ZnO-Al2O3 dopés ou non par Ag et Mn) et les métaux nobles supportés (Pd/Al2O3 et Pt/Al2O3, Pd-Pt/Al2O3 dopés ou non par B) utilisés dans deux réactions différentes: la réaction d'oxydation à basse température de l'ammoniac en azote et la combustion catalytique à haute température du méthane pour la production d'énergie. Le biogaz, énergie renouvelable, est constitué majoritairement de méthane et de dioxyde de carbone. Il contient, entre autres, des traces d'ammoniac (NH3 < 1000 ppm) qu'il convient d'éliminer avant d'envisager son utilisation comme vecteur d'énergie. Nous avons synthétisé des systèmes catalytiques à base d'oxydes de cuivre par différentes méthodes. Ces catalyseurs existent sous différentes formes dont l'obtention dépend du mode de synthèse utilisé, de la teneur en cuivre et de la température de calcination. Ils présentent des propriétés physico-chimiques différentes ce qui affecte à la fois leur activité en oxydation de l'ammoniac et leur sélectivité en azote.Des catalyseurs mono et bimétalliques à base de palladium et de platine ont été déposés sur -Al2O3 puis stabilisés par un traitement à haute température en présence de vapeur d'eau. Ils ont été ensuite utilisés en combustion de CH4 (200-800°C).L'activité des catalyseurs utilisés en oxydation de NH3 ou en combustion de CH4 est affectée par l'empoisonnement par H2S. Toutefois l'importance de la désactivation de ces catalyseurs est fonction de la méthode de synthèse utilisée.

Dans la gamme de tailles nanométriques, les propriétés optiques de particules uniques d'or et d'argent sont celles du solide massif modifiées par le confinement diélectrique : en particulier les Résonances de Plasmon de Surface. L'interaction lumièrenanoparticule étant très faible, l'étude d'une particule unique a pu être réalisée grâce au développement d'une technique optique originale en champ lointain basée sur la modulation spatiale de l'échantillon. Cette technique a permis la détection et la caractérisation optique géométrique de nanoparticules uniques d'environ 10 nm de diamètre, à l'aide de sources laser ou d'un continuum. L'utilisation d'une lampe blanche et d'un montage proche UltraViolet – visible – proche InfraRouge a permis l'étude de plus grosses particules et donc du mode quadrupolaire du plasmon ainsi que l'analyse de valeurs publiées des fonctions diélectriques des métaux nobles. L'étude de particules en fonction de leur taille a permis de vérifier le passage au mode quasi-statique d'oscillation collective des électrons de conduction. La corrélation des mesures optiques à la microscopie électronique à transmission a montré l'influence de la forme et des interactions entre particules sur cette réponse optique.

Dissertation--Universität Kassel, 2004. / Bibliogr. p. 293-308.

Ketverių metų“ seimo metu buvo nutarta dėl administracinio Vilniaus vaivadijos padalijimo. Tačiau galutinai apskritis buvo suformuota 1792 m. Ašmenos apskritis buvo padalinta išilgai Neries upės. Jos pietinė dalis liko Ašmenos apskričiai, o iš jos šiaurinės dalies buvo sudaryta nauja Užnerio apskritis su centru Pastovyje. Naujoji apskritis priklausė Vilniaus gubernijai. Sekantis administraciniai pasikeitimai vyko 1839 m. ir tęsesi iki 1843 m. Apskritis buvo padidinta ir pakeitė savo pavadinimą į Švenčionių apskritį. Apskritis buvo sudaryta iš vieno dekanato kuris 1829 m. skilo į Švenčionių ir Svyrių. Užnerio apskrities bajorai po trečiojo valstybės padalijimo pradėjo įrodinėti savo kilmė, be abėjo toks pat procesas vyko ir kitose gubernijos apskritise. Dauguma turtingų bajorų, pasirupino kilmės įrodymais iki 1830-31 m. O smulkieji bajorai, dėl liešų trukumo ir tinkamų dokumetų stokos nebegalėjo to padaryti. Del to didesnė jų dalis po sukilimo buvo eliminuota iš luomo. Bajoriškos valdos skyrėsi savo dydžių, atnešamų pelnų ir valstiečių dydži��. Apskrityje vyravo vidutinių bajorų valdos, kurios siekė iki 1000 dešimtinių. Nagrinėjant bažnytinės metrikas, sužinome, apie bajorų užrašymo būdus, kaip kunigai, juos įrašydavo i metrikas. Per 23 metus apskrityje gimė 5271 bajorų vaikas, tarp jų 55,2 procento berniukų ir 44, 8 mergaičių. Nagrinėjant nesantuokinius vaikus, paaiškėjo, jog jie dažnaiusiai gimdavo smulkiųjų bajorų šeimose. Daugiausia bajorų gimdavo kaimuose o mažiausiai... [toliau žr. visą tekstą] / During the four-year Parliament governance, it was decided for administrational division of Vilnius region. However, finally, this region was formed in 1792. Ašmena region was divided along Neris River. Its south part was left for Ašmena region and a new Užneris region of its north part with center in Pastovis was established. This new region belonged to Vilnius government. The later administrational changes were performed in 1839 and they continued up to 1843. This region was expanded and its name was changed into Švenčionys region. The region contained one deanery, which splitted into Švencionys and Svyriai in 1829. The nobles of Užneris region after the third division of the country started proving their origin. The same phenomenon happened in the others regions of the government. The majority of the rich nobles had taken care of the origin evidences before 1830-31. Small nobles could not do that due to lack of resources and documents. Because of the absence of the documents they were eliminated of the noble estate after the revolt. The nobles’ possessions were different in size, benefits and number of rustics. In this region, the biggest part of the average nobles prevailed that reached up to 1000 tithes. While anlysing church metrics, we get to know the information about the way the nobles were inscribed into metrics. It was born 5271 children of nobles over 23 years in the region; 55,2 percent of boys and 44,8 percent of girls. Irregular children were born mostly in... [to full text]

A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo. / The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.

A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo. / The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.

A concepção da interpretação de uma obra musical pode advir de um processo sustentado por reflexão e ímpeto, agregando razão e emoção, o qual é gerado por impulsos e diversos conhecimentos, sendo estes musicais e/ou extra-musicais, objetivos e subjetivos. Estes são criados e reunidos ao longo da vida, durante o período de formação musical e a partir de contatos com diversas artes e normalmente dinamizado ao longo da leitura de uma determinada obra, de maneira consciente e inconsciente. Aprofundam-se através da prática musical, pesquisas e também da chamada tradição oral, através da relação mestre/discípulo. Este memorial disserta sobre meu processo de leitura, estudo e performance das Valsas Nobres e Sentimentais de Maurice Ravel, realizado durante meu curso de mestrado. Procuro reconhecer e esclarecer algumas de minhas escolhas musicais e os conhecimentos que mobilizei, adquiri e transmutei ao longo deste processo, paralelamente às reflexões de meu orientador, Ney Fialkow. Para tanto, foi necessário o registro de alguns dos meus encontros de orientação, momentos de meus estudos, algumas de minhas performances e idéias que foram geradas e despertadas durante todo este percurso. O possível reconhecimento e verbalização de todos estes registros podem muitas vezes tornar-se imprecisos, ou até mesmo impossíveis. Não há aqui a pretensão de desenvolver um guia de estudo, nem tampouco uma versão final da minha interpretação, já que esta se encontra sempre em movimento e renovação. É um registro de um determinado momento e como o mesmo se deu, ora sustentado por argumentos fundamentados em pesquisas ora por um universo fantástico e etéreo. / The interpretation concept of a musical piece may result from a process based on reflection and momentum, adding reason and emotion, which is generated by impulses and diverse knowledge, being this knowledge musical and / or extra-musical, objective and subjective. It is created and gathered throughout lifetime, during the period of musical training and from contacts with various types of art being normally activated while reading a particular piece of music in a consciously and unconsciously manner. This knowledge is deepened through musical practice, research, and the so called oral tradition, and through the master / disciple relationship. This memorial speaks about my process of reading, study and performance of the Noble and Sentimental Waltzes by Maurice Ravel, performed during my Master’s course. I try to recognize and clarify some of my musical choices and the knowledge I activated, acquired and transmuted along this process, in parallel with the reflections of my advisor, Ney Fialkow. Therefore, it was necessary to record some of my meetings with the advisor, moments of personal studies and some of my performances and ideas that were generated and arouse along this period of time. The possibility of recognition and verbalization of all these records can often become inaccurate or even impossible. There is not any intention here to develop a study guide, nor a final version of my interpretation, as this is always dynamic and renewable. It is a record of a particular moment and how it was carried out. At times, supported by arguments based on researches and at other times by a fantastic and ethereal universe.

La théorie de la rigidité permet de prédire les comportements de nombreuses propriétés de verres, que ce soit avec la composition, la température ou la pression, tout en réduisant la structure de ceux-ci à un simple critère mécanique : flexible, isostatique ou rigide sur-contraint. Des travaux récents ont mis en évidence l'utilité d'une telle analyse, tant de manière expérimentale que théorique. Dans cette thèse, nous appliquons une méthode d'établissement de contraintes à partir de simulations par dynamique moléculaire, afin d'explorer la rigidité dans différentes conditions de température, pression ou composition pour des verres ayant des potentiels d'application. Cet algorithme de dénombrement de contraintes, radiales ou angulaires, nous a permis de définir des zones de compositions particulières dans les verres d'oxydes, avec une compréhension différente de la structure et des contraintes entourant les ions dans la silice. Par la suite, nous avons aussi pu montrer des effets topologiques faibles des gaz nobles dans la silice, et relier les anomalies dynamiques observées dans la silice sous pression à des conditions de rigidité du réseau. / Rigidity theory allows to predict the behavior of many properties of glasses with respect to composition, while considering the underlying network as simple mechanical trusses that can be flexible, isostatic or stressed-rigid. Some recent works showed how useful such an analysis can be, either theoretically or experimentally. In the thesis we will use a method to analyse topological constraints from molecular dynamics simulations in order to establish the rigidity of silica systems of interest under various conditions of composition, pressure and temperature. Applying this constraints counting algorithm to radial and angular constraints in soda-lime systems allowed us to establish composition intervals of isostatic properties while giving a novel comprehension of the constraints and the structure surrounding the ions. We later highlight the faint influence of noble gases atoms upon silica when melted in the bulk. That study also allowed us to link dynamical anomalies of silica under pressure to rigidity changes of the network.

Le rapport isotopique de l'hélium atmosphérique (RA = 3He/4He = 1.39 × 10-6) est lié aux flux naturels et anthropiques de 3He et de 4He en provenance de la Terre (et de l'espace pour 3He). Les activités industrielles ont émis des gaz riches en 4He radiogénique (exploitation des combustibles fossiles) et en 3He (activités nucléaires). Du fait de ces flux d'hélium, il a été proposé que le rapport 3He/4He dans l'air a varié dans le temps et dans l'espace. De telles variations pourraient permettre l'utilisation de ce rapport comme nouveau traceur des émissions atmosphériques de polluants anthropiques et/ou naturelles. Pour vérifier ces possibilités, nous avons entrepris la mesure haute-précision (2-6‰, 2σ) de la composition isotopique de l'hélium atmosphérique au Centre de Recherches Pétrographiques et Géochimiques (Université de Lorraine et Centre National de la Recherche Scientifique, Vandoeuvre-lès-Nancy, France). Nous avons effectué des analyses d'intercalation avec un spectromètre de masse double collecteur (Helix Split Flight Tube de la société Thermo Instruments). Au cours de ces analyses, plusieurs analyses individuelles d'un échantillon d'air sont effectuées en alternance avec un standard d'air. Nous n’avons détecté aucune évidence de variation temporelle du rapport 3He/4He dans l’air de France piégé dans des boules de pétanque (1965, 1990, 2010, 2013), dans des réservoirs métalliques (2010, 2016) et dans un carburateur de voiture (1910). Nous avons également re-analysé des échantillons d'air ancien prélevés dans des réservoirs métalliques depuis 1978 à Cape Grim (Tasmanie, Australie). En incluant les mesures de Mabry et al. (2015) pour certains de ces réservoirs, nous obtenons une tendance commune de -0.05 ± 2.46 ‰, montrant l'absence de variation statistiquement significative sur une période de 106 ans. Au niveau mondial, nous avons seulement détecté deux échantillons d’air sur seize (Dôme C, Antarctique; Tokyo, Japon) dont les compositions sont statistiquement distinctes, marquées par des excès en 3He de 2.0 ± 1.4 ‰, et 1.7 ± 1.5 ‰, respectivement (intervalle de confiance de 95%). Ces excès pourraient être liés aux flux d’hélium locaux par : (i) les précipitations aurorales en Antarctique ; (ii) les volcans et/ou les déchets nucléaires (Fukushima Daï-Ichi) au Japon. Dans la région de l’Afar (Éthiopie), nous avons détecté des excès en 3He de ~1 % au-dessus du lac de lave du volcan Erta Ale, pouvant être utilisés pour tracer des gaz réactifs (e.g. CO2) simultanément émis. Ces excès sont toutefois rapidement dilués dans les masses d’air régionales. L'isolation des gaz libérés par le sol du cratère de l'Erta Ale à l'aide d'un contenant inversé placé à sa surface a permis d'évaluer les flux diffusifs en 3He (via l'augmentation du rapport 3He/4He dans l'air isolé) et en CO2. Globalement, cette thèse conforte l’utilisation de RA comme standard inter-laboratoire. Dans certaines régions (Dôme C, Japon), une investigation plus poussée dans le temps devrait être effectuée pour contraindre les sources d’hélium atmosphérique pouvant engendrer de faibles variations locales / The helium isotopic composition of air (RA = 3He/4He = 1.39 × 10-6) is related to the natural and anthropogenic fluxes of 3He and 4He from the Earth (and from space for 3He). Industrial activities emit gases enriched in radiogenic 4He (exploitation of fossil fuels) and in 3He (nuclear activities). It has been proposed that the 3He/4He ratio in air has varied over time and also spatially because of these helium fluxes. Such variations could allow the use of this ratio as a new tracer of anthropogenic and/or natural pollutants. To verify these possibilities, we undertook high-precision measurements of the composition of atmospheric helium (2-6‰, 2σ) at the Centre de Recherches Pétrographiques et Géochimiques (University of Lorraine, Centre National de Recherche Scientique, Vandoeuvre-lès-Nancy, France). We performed sample-standard bracketing analyses with a double collector Helix SFT Mass Spectrometer. During each of these analyses, several individual analyses of an air sample are conducted in alternation with an air standard. We found no evidence of temporal variation of the 3He/4He ratio in French air trapped in petanque balls (1965, 1990, 2010, 2013), metallic tanks (2010, 2016) and in a carburettor (1910). Including the measurements of Mabry et al. (2015) for the Cape Grim air archive (Tasmania, Australia), we obtained a trend of -0.05 ± 2.46‰ over 106 years. At the global level, we only detected two air samples out of sixteen (Dôme C-Antarctica, Tokyo-Japan) whose compositions are statistically distinct, marked by 3He excesses of 2.0 ± 1.4‰, and 1.7 ± 1.5‰, respectively (95% confidence interval). These excesses could be related to local and regional helium fluxes input such as: (i) auroral precipitation in Antarctica; (ii) volcanoes and/or nuclear releases (Fukushima Daï-Ichi) in Japan. In the Afar region (Ethiopia), we detected 3He excesses of ~1% above the lava lake of the Erta Ale volcano, which can be used to trace reactive gases (e.g. CO2) released simultaneously. These excesses are quickly affected by air mixing with the regional air of Afar. The diffusive soil fluxes of 3He (via increase of the 3He/4He ratio) and CO2 have been estimated from the accumulation of gases released from the soil of the Erta Ale crater in an inverted chamber placed on its surface. Overall, this thesis supports the use of RA as an inter-laboratory standard. In some areas (Dôme C, Japon), a more thorough investigation should be carried out over time to constrain the sources that may cause small helium isotopic variations in air

No description available.