Through the works of Lord Byron and Gustavo Adolfo Bécquer, I explored the function of the themes of darkness and obscurity in Romanticism. There was a clear connection between the inclusion of these themes and the rejection of the Enlightenment period, which is what I focused on in this thesis. I discovered that the Romantics found inspiration and beauty in the darker, stranger aspects of the natural world, while rejecting the logical and rational beliefs of the Enlightenment.

Port-knocking is a security mechanism used in computer systems to hide available network services. Its operation relies on a drop policy firewall setting in order to make impossible for port-scanning attacks to occur. This project researches the impact of implementing such a software solution. Furthermore, it looks into the behavior of three chosen implementations and make conclusions on the benefits and disadvantages that they bring. In addition, the surrounding implications related to both user and administrator are explored. This thesis includes tests on the resource consumption of the implementations as well as records of the added delay of using the mechanism when initiating a SSH session. There has not been such research performed in this field and the results of it could be beneficial to those who are involved in computer science and network security in particular. Finally, the product of this study state that port-knocking is overlooked and has great benefits in preventing zero-day exploits and hacker tools relying on exposed network services.

Brassage de savoirs, retour des formes anciennes, esthétique du minuscule, éclatement des genres, moi qui se fond dans la graphie, l’écriture de Pascal Quignard caractérise les enjeux de la littérature contemporaine. En ce sens, la poétique de la défaillance devient l’outil herméneutique qui donne à l’œuvre sa singularité. Cette poétique met en relief une quête spéculative centrée sur la hantise des origines et le rapport problématique avec le langage, le savoir, l’Histoire, la musique, la pensée et l’autobiographie. Dans un premier temps, nous abordons la défaillance langagière. La langue est acquise et cette acquisition nous soumet à une forme de domination sociale. La littérature quignardienne est vouée à désamorcer ce lien grâce au travail de l’auteur qui écrit en lisant. Il en résulte une œuvre qui détient un appareil intertextuel complexe et une écriture à la fois récapitulative et fragmentaire que l’étude des noms, des contes et des rêves met en lumière. Dans un deuxième temps, nous étudions la défaillance sonore. Il s’agit d’analyser l’expérience de la musique en tant que négativité, son rôle dans le milieu concentrationnaire, sa place à l’ère de la reproduction technique, son rapport au silence, à l’indicible et à la mort. Pour finir, nous examinons les raisons de l’hermétisme de cette œuvre et de son obscurité, ainsi que les difficultés qui s’en dégagent. Œuvre qui inclut son propre cheminement herméneutique, nous interrogeons à la fois la place du critique littéraire qu’elle invente et la place du sujet dans le cadre du renouvellement des écritures de soi. / The stirring of knowledge, the return of old forms, the aesthetics of smallness, the explosion of genres, the ’I’ that is based on graphics: the works of Pascal Quignard characterise what is at stake in contemporary literature. In this sense, the poetics of default becomes the hermeneutic tool that gives the work its singularity. This poetics highlights a speculative quest focused on the obsession of origins and on the problematic relation with language, knowledge, History, music, thought and autobiography. First, we shall analyse the default of language. Language is acquired and acquiring it makes us undergo a form of social domination. Quignardian literature is destined to disarm this bound thanks to the work accomplished by an author who writes while reading. The result is a work that encompasses a complex intertextual mechanism and a both recapitulative and fragmentary style of writing that the study on names, tales and dreams highli! ghts. Secondly, we shall study the default of sound. We will mean to analyse the experience of music as negativity, its role in the concentration camps, its place in the era of technical reproduction, its relation to silence, to the unutterable and to death. Finally, we shall examine the reasons for the hermetism and obscurity of this work, as well as the difficulties that arise thereof. Since this work includes its own hermeneutic development, we shall question the role of both the literary critic invented by this work and of the subject in the context of the renewal of this style of writing oneself.

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Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentales. / Through a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art.

This building emerges as a solitary work from obscurity. Its form is a composition of disjointed rooms connected by common themes: frontality, obscurity, artifice, and seclusion.<br /><br />In the first part, the plan appears as a map of a promenade which is the main ordering device of the building structure.<br /><br />In the second part, the internal spaces are presented as isolated from each other as is the building from any external reference.<br /><br />In the sections, which constitute the third part, the building appears as layered facades emerging from planes of strata. / Master of Architecture

[pt] O trabalho enfoca a relação entre linguagem e Direito, apontando o distanciamento entre a linguagem legal e a linguagem do homem médio. Tendo por base o estudo comparativo de segmentos do Código Civil brasileiro de 1916 e de 2002, relativamente ao Direito das Sucessões, analisam-se questões pertinentes à estruturação sintática, à utilização vocabular e à presença de ambigüidades estruturais. Busca-se, assim, identificar os principais fatores responsáveis pelas dificuldades enfrentadas pelo homem médio ao interpretar textos legais. O estudo, valendo-se de uma pesquisa realizada junto a informantes, constata que houve um certo progresso quanto à linguagem adotada no Código Civil de 2002, em face à do de 1916. Aponta, contudo, que o progresso realizado está muito aquém do desejável, dado que, na virtual totalidade dos casos, alternativas de redação propostas pela autora foram preferidas às correlatamente encontradas no Código de 2002. A pesquisa volta-se, também, para a identificação de marcas lingüísticas evidenciadoras de mudanças axiológicas ocorridas na sociedade brasileira desde a promulgação do Código de 1916, e refletidas no de 2002. A dissertação discute as relações entre linguagem e poder e destaca a perversidade da coexistência da ficção, juridicamente necessária, de que a ninguém é dado escusar- se de cumprir a lei alegando o seu desconhecimento com a perpetuação de uma linguagem jurídica obscura e proliferação irrefreada de leis. Defende, assim, a adoção de uma linguagem jurídica que, ao invés de afastar o homem médio do conhecimento de seus direitos e deveres em face da sociedade, se torne um meio propiciador desse conhecimento. / [en] This work focuses on the relation between language and Law, pointing out the distance that prevails between legal language and the language of the common man. By comparing segments of the Brazilian Civil Code of 1916 with those of the Civil Code of 2002, in regard to Successions Law, issues concerning syntactic structure, use of vocabulary and the presence of structural ambiguities are analyzed. The identification of the main factors responsible for the difficulties faced by the common man in interpreting legal texts is also pursued. By means of an empirical research undertaken with informants, the study establishes that there has been a certain degree of progress, language- wise, in what concerns the Civil Code of 2002, as compared to that of 1916. However, it points out that the degree of progress that has been achieved is far less considerable than that which would be desirable, since, in virtually all cases, the alternative linguistic formulations proposed by the author were preferred over their parallel formulations found in the Civil Code of 2002. The research also provides the identification of linguistic traces which signal axiological changes that have taken place in Brazilian society since the promulgation of the 1916 Code, and which are reflected in that of 2002.The thesis discusses the relation between language and power and calls attention to the perversity of the coexistence of the necessary juridical fiction that no one can be excused of abiding to the law by claiming to ignore it with the perpetuation of an obscure juridical language and the unrestrained proliferation of laws. It thus recommends the adoption of a juridical language that instead of deterring the common man from finding out what his rights and his responsibilities in face of society are, transforms itself in a means of favoring such knowledge.

Despite the authority that time holds in the discipline of studying events of the past, not all historians or writers analyzing the past use time to study history—some use space, including writers who write about and interact with an urban topography. The space used by these writers is built space, as well as inhabited and practiced "lived" space. Whereas time provides a transparent overview of history, the urban spaces tend to be opaque. Clarifying history through urban space is additionally troublesome, because built space and its attached memories are visibly forgotten and ignored as time advances. Despite the difficulties of working with and understanding urban space, some intellectuals specifically choose space as a tool of discernment of history. For these individuals, understanding history becomes an investigation of sensing, feeling, and divining human activity out of the mass of artifacts and used spaces. Hermine Cloeter is one such urban forensic historian.