Le but de cette thèse est d'établir des résultats énumératifs sur certaines classes de chemins et d'animaux. Ces résultats sont obtenus en appliquant la théorie des empilements de pièces développée par Viennot. Nous étudions les excursions discrètes (ou chemins de Dyck généralisés) de hauteur bornée; nous obtenons des résultats énumératifs qui interprètent combinatoirement et étendent des résultats de Banderier, Flajolet et Bousquet-Mélou. Nous décrivons et énumérons plusieurs classes de chemins auto-évitants, dits chemins faiblement dirigés. Ces chemins sont plus nombreux que les chemins prudents qui forment la classe naturelle la plus grande jusqu'alors. Nous calculons le périmètre de site moyen des animaux dirigés, prouvant des conjectures de Conway et Le Borgne. Enfin, nous obtenons des résultats nouveaux sur l'énumération des animaux de Klarner et les animaux multi-dirigés de Bousquet-Mélou et Rechnitzer. / The goal of this thesis is to prove enumerative results on some classes of lattice walks and animals. These results are applications of the theory of heaps of pieces developed by Viennot. We study discrete excursions (or generalized Dyck paths) with bounded height; we obtain enumerative results that give a combinatorial interpretation and extend results by Banderier, Flajolet and Bousquet-Mélou. We describe and enumerate several classes of self-avoiding walks called weakly directed walks. These classes are larger than the class of prudent walks, the largest natural class enumerated so far. We compute the average site perimeter of directed animals, proving conjectures by Conway and Le Borgne. Finally, we obtain new results on the enumeration of Klarner animals and multi-directed animals defined by Bousquet-Mélou and Rechnitzer.

Master´s thesis topic is a rest house. The house is projected in a Porotherm system. The house has a basement and three floors. The basement is built from concrete form-pieces. The kind of the roof is the saddle foof with 12°ramp. All constructions correspond to ČSN 73 0540.

No description available.

Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.

Thesis (MPhil (Visual Arts. Illustration))--University of Stellenbosch, 2009. / The aim of this thesis is to decode my autobiographic graphic novel, Portrait in Pieces (a narrative of a mother / daughter relationship), utilising a genealogical mode of analysis. This takes place, firstly, through a discussion of the themes of photography, memory and repetition which occur in the graphic novel; secondly, through a consideration of the role of language and difference within a specific mother / daughter relationship; and thirdly, through the study of autobiography and the self as performative entities. In this thesis I interrogate the autobiographic genre in a manner that questions internalised notions of femininity and (patriarchal) cultural constructs, which precede and influence the performance of our ‘life scripts’. I posit Portrait in Pieces as a transitional object between my mother and myself, and language as a medium which can both Otherise and close the distance between us. Translation is the medium by which one reads this distance, turning miscommunication into communication, and misunderstanding into understanding. The illustrations and text constituting the graphic novel have been produced through creative play, representing the ‘post talking’ required for the process of healing, empathising, and taking ownership of one’s ‘life script’.

Réalisé en collaboration avec Arkéos Inc. / Ce projet de recherche tente de mieux comprendre le phénomène des supports sur plaquette en quartzite du site ElFs-010 situé en Jamésie. Aucun travail de cette ampleur n’avait encore été réalisé sur ce type d’outil. Il y avait donc un vide à combler. Afin de répondre le plus adéquatement possible à cette problématique, nous avons divisé notre travail en trois objectifs. Dans un premier temps, déterminer si les plaquettes en quartzite sont le produit d’une technologie lithique ou bien d’un processus géologique naturel. En second lieu, démontrer si nous sommes en présence d’un épiphénomène propre au site ElFs-010. Finalement, définir si une période chronologique correspond à cette industrie. Les résultats de nos recherches nous démontrent que les supports sur plaquette en quartzite du site ElFs-010 se retrouvent naturellement sur le talus d’effondrement de la Colline Blanche. Leur faible épaisseur moyenne ainsi que leurs pans abrupts ont sans doute été les facteurs qui ont le plus influencé leur sélection. En nous basant sur ces deux caractéristiques, nous suggérons qu’ils auraient pu être utilisés comme des lames interchangeables ou bien des burins. Nous avons recensé 33 sites jamésiens qui comportaient au moins un fragment de plaquette en quartzite. Malgré quelques indices archéologiques, il est encore trop tôt pour affirmer que cette industrie est diagnostique d’un groupe culturel jamésien. Les données chronologiques suggèrent que cette industrie a connu un essor vers 1300 ans A.A. De plus, il semble que les régions géographiques que nous avons attribuées aux sites correspondent à des séquences culturelles bien définies. Finalement, nos hypothèses portent sur des recherches futures concernant un ensemble d’événements qui, tout comme les supports sur plaquette en quartzite, sont révélateurs de changements dans le mode de vie des groupes préhistoriques de la Jamésie. Mots-clés : Archéologie, Jamésie, ElFs-010, Colline Blanche, plaquette en quartzite, technologie lithique. / This research project seeks to better understand the phenomenon of tabular quartzite tools from the archeological site Elfs-010. No detailed work had yet been carried out on this type of tool, leaving a void to fill. To respond as adequately as possible to this problem, we focused our work on three main objectives. First, determine if tabular pieces of quartzite were the product of a particular lithic technology or of a natural geological process. Second, evaluate whether we are dealing with a unique phenomenon that is specific to site Elfs-010. Third, and finally, define if a specific time period corresponds to this industry. The results of our research show that tabular pieces of quartzite from site Elfs-010 occur naturally on the talus slope of the Colline Blanche. Their low average thickness and their steep sides were probably the factors that most influenced their selection. Based on these two characteristics, we suggest they could be used interchangeably as blades or burins. We identified 33 Jamesian sites that had at least one fragment of tabular quartzite. Despite some archaeological evidence, it is still too early to say that this industry is diagnostic of a Jamesian cultural group. Our chronological data suggest that this industry flourished around 1300 years BP. In addition, it appears that the geographic areas that we have attributed to the sites correspond to culturally well-defined sequences. Finally, our proposed hypotheses for future research concern the events that took place around 1300 years BP and which, like the tabular pieces of quartzite, are indicative of changes in the lifestyle of prehistoric groups of the James Bay region. Keywords: Archaeology, James Bay, ElFs-010, Colline Blanche, tabular pieces, quartzite, lithic technology.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

Made available in DSpace on 2016-03-15T19:46:35Z (GMT). No. of bitstreams: 1 Silvana Aparecida de Almeida Zanini.pdf: 1980823 bytes, checksum: 3e805d3805ea56c4d1d498707c438de0 (MD5) Previous issue date: 2007-12-06 / In this project, some advertising pieces of the beers Bohemia, Kaiser, Schincariol, Brahma, Skol, Primus and Santa Cerva have been analyzed in order to investigate the social class of people these beers are target at and how the messages interact with the consumer to persuade him to consume a determined product depending on the social class he belongs to. A verbal and non-verbal study was proceeded to prove the difference between the Bohemia advertising and the other beers. The analysis relies on the proposal of several scholars such as Bahktin, Barthes, Pierce, Halliday, Maingueneau, and Vestergaard among others. In this analysis the aim was to show as the Bohemia beer messages fix themselves in its superiority, marking itself for the setting in a target-public of people with a refined taste, who aren t influenced by the easy and rude appeals but who bear in mind the qualities, the tradition and the sophistication. In the selected pieces of these two groups the genre, the interaction between the enunciator and the enunciate, the language functions, the language figures were analyzed. After the analysis, several features that strongly differentiate the publicity nature of the two groups were distinguished. Firstly, Bohemia puts itself as a queen, the most perfect in every sense in its preparation, in its layout, always exalting its supremacy and the elegance of its consumer, investing in more subtle, discreet, with sober colors advertising pieces, which are directed to intelligent and cultured people who don t get satisfied with the trivial. The aim focused is the quality of the consumer. The other beers, resort to half-naked women, strong colors, easy pleasure atmosphere which persuades to the idea that everyone can and must drink the product the focus is clearly to achieve the mass of the beer consumers. / Nesse trabalho procurou-se analisar algumas peças publicitárias das cervejas Bohemia, Kaiser, Schincariol, Brahma, Skol, Primus e Santa Cerva para investigar a que classe de pessoas essas cervejas são direcionadas e de que forma as mensagens interagem com o consumidor, a fim de persuadi-lo a consumir determinado produto, dependendo da classe social a que pertence. Procedeu-se a um estudo verbal e não-verbal, para comprovar a diferença entre a publicidade da Bohemia e a das outras cervejas. A análise apóia-se na proposta de vários estudiosos como Bahktin, Barthes, Peirce, Halliday, Maingueneau, Vestergaard, entre outros. Nessa análise objetivou-se mostrar como as mensagens da cerveja Bohemia se fixam na sua superioridade, marcando-se pela fixação em um público-alvo de pessoas de gosto apurado, que não se deixam levar por apelos fáceis e grosseiros, mas que levam em conta a qualidade, a tradição e a sofisticação. Nas peças selecionadas desses dois grupos de cerveja analisou-se o gênero, a interação entre enunciador e enunciatário, as funções da linguagem, as figuras de linguagem e outros recursos de valorização da linguagem. Após a análise, distinguiram-se vários traços que diferenciam marcadamente a natureza da publicidade dos dois grupos. Primeiramente, a Bohemia se coloca como a rainha, a mais perfeita em todos os sentidos seja no seu preparo, seja no seu layout sempre exaltando a sua supremacia e a elegância de seu consumidor, investindo em peças publicitárias mais sutis, discretas, com cores mais sóbrias, voltadas para pessoas inteligentes, cultas e que não se contentam com o banal. A meta em foco é a qualidade do público consumidor. As outras cervejas, apelando para mulheres seminuas, cores fortes, ambientes de prazer fácil, induzem à idéia de que todos podem e devem beber o produto. A meta em foco é nitidamente atingir a massa dos consumidores de cerveja.

Ce projet de recherche tente de mieux comprendre le phénomène des supports sur plaquette en quartzite du site ElFs-010 situé en Jamésie. Aucun travail de cette ampleur n’avait encore été réalisé sur ce type d’outil. Il y avait donc un vide à combler. Afin de répondre le plus adéquatement possible à cette problématique, nous avons divisé notre travail en trois objectifs. Dans un premier temps, déterminer si les plaquettes en quartzite sont le produit d’une technologie lithique ou bien d’un processus géologique naturel. En second lieu, démontrer si nous sommes en présence d’un épiphénomène propre au site ElFs-010. Finalement, définir si une période chronologique correspond à cette industrie. Les résultats de nos recherches nous démontrent que les supports sur plaquette en quartzite du site ElFs-010 se retrouvent naturellement sur le talus d’effondrement de la Colline Blanche. Leur faible épaisseur moyenne ainsi que leurs pans abrupts ont sans doute été les facteurs qui ont le plus influencé leur sélection. En nous basant sur ces deux caractéristiques, nous suggérons qu’ils auraient pu être utilisés comme des lames interchangeables ou bien des burins. Nous avons recensé 33 sites jamésiens qui comportaient au moins un fragment de plaquette en quartzite. Malgré quelques indices archéologiques, il est encore trop tôt pour affirmer que cette industrie est diagnostique d’un groupe culturel jamésien. Les données chronologiques suggèrent que cette industrie a connu un essor vers 1300 ans A.A. De plus, il semble que les régions géographiques que nous avons attribuées aux sites correspondent à des séquences culturelles bien définies. Finalement, nos hypothèses portent sur des recherches futures concernant un ensemble d’événements qui, tout comme les supports sur plaquette en quartzite, sont révélateurs de changements dans le mode de vie des groupes préhistoriques de la Jamésie. Mots-clés : Archéologie, Jamésie, ElFs-010, Colline Blanche, plaquette en quartzite, technologie lithique. / This research project seeks to better understand the phenomenon of tabular quartzite tools from the archeological site Elfs-010. No detailed work had yet been carried out on this type of tool, leaving a void to fill. To respond as adequately as possible to this problem, we focused our work on three main objectives. First, determine if tabular pieces of quartzite were the product of a particular lithic technology or of a natural geological process. Second, evaluate whether we are dealing with a unique phenomenon that is specific to site Elfs-010. Third, and finally, define if a specific time period corresponds to this industry. The results of our research show that tabular pieces of quartzite from site Elfs-010 occur naturally on the talus slope of the Colline Blanche. Their low average thickness and their steep sides were probably the factors that most influenced their selection. Based on these two characteristics, we suggest they could be used interchangeably as blades or burins. We identified 33 Jamesian sites that had at least one fragment of tabular quartzite. Despite some archaeological evidence, it is still too early to say that this industry is diagnostic of a Jamesian cultural group. Our chronological data suggest that this industry flourished around 1300 years BP. In addition, it appears that the geographic areas that we have attributed to the sites correspond to culturally well-defined sequences. Finally, our proposed hypotheses for future research concern the events that took place around 1300 years BP and which, like the tabular pieces of quartzite, are indicative of changes in the lifestyle of prehistoric groups of the James Bay region. Keywords: Archaeology, James Bay, ElFs-010, Colline Blanche, tabular pieces, quartzite, lithic technology. / Réalisé en collaboration avec Arkéos Inc.