An extensive radio wave propagation measurement campaign was conducted at 1.3 GHz and 4.0 GHz inside four buildings, including a sports arena, a modern closed-plan office building, and two dissimilar, open-plan factories. Measurements were recorded at 57 locations using base station antenna heights of 1.7 meters and 4.0 meters. Results were obtained for mean and maximum excess delay, rms delay spread, time delay jitter, differential delay jitter, and path loss through analyses of impulse response estimates, which were obtained via repetitive 5 ns probing pulses. The effects of frequency, antenna height, topography (line-of-sight or obstructed direct path), and building environment on delay spread and path loss are quantified. Results indicate that, on average, the frequencies and antenna heights used in this study have minimal impact on rms delay spread and path loss. However, topography and building environment significantly affect these parameters. RMS delay spread values as high as 230 ns were observed in open plan factories. Computed path loss power law exponents are 1.84 and 2.35 for line-of-sight and obstructed topographies, respectively. A second campaign was conducted to determine the effects of antenna directivity and polarization on propagation parameters. On average, line-of-sight indoor channels offer 8 dB of cross-polarization discrimination, whereas obstructed environments offer less than 3 dB. Directional antennas provide a significant reduction in rms delay spread over omni-directional antennas. In line-of-sight environments, circular polarization provides an additional delay spread reduction. / Master of Science

The radio interface greatly affects performance of wireless communication systems. Hard-wired communication links use transmission lines to connect communication terminals. The propagation characteristics of radio frequency signals on these transmission lines are well known. In wireless communication systems, however, the transmission line with a known impulse response is replaced by a radio channel with an impulse response that is constantly changing as the users roam throughout the coverage area. The varying impulse response is due to the multiple path propagation of the signals from the transmitter to the receiver. The design of emerging small cellular (commonly known as microcellular) wireless systems is limited by the multipath propagation characteristics of the channel. Once these propagation conditions are understood, systems may be designed more efficiently in terms of cell layout, interference reduction, and system performance. This thesis presents a technique for automated propagation prediction in outdoor microcellular radio channels using ray tracing. The basic method is to integrate site-specific environmental data with a geometrical optics model to trace the propagation of energy from the transmitter to the receiver. Software written in C++ is used to automatically trace rays that are reflected, transmitted, scattered, or diffracted as they propagate through the channel. The automated software uses AutoCAD® to maintain the site-specific building data incorporated into the model. Details of the building database, propagation model, and software implementation are included in this thesis. The accuracy of the model and its software implementation is tested against wide band measurements taken on the Virginia Tech campus. Results, included here, indicate that the received signal can be accurately predicted in both line-of-sight and obstructed microcell topographies. / Master of Science

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This dissertation builds on the common notion that Beethoven's music sounds inward by grounding this impression analytically. The chapters frame Beethoven's music in terms of inward, outward, and liminal spaces. Inward spaces are slow, lyrical, formally enclosed, and harmonically distant, and they often appear under the aura of what I call a "modulating trill" or a "diffused theme." Drawing on Schmalfeldt's references to inwardness, I describe outward spaces as inward moments that "radiate outward" and note that these restore tonal stability, lost thematic material, and bass notes that had once disappeared. Finally, liminal spaces are passages that quickly juxtapose inward and outward moments, and thus they seem to exist at the cusp between these two spaces. I examine how these passages evolve throughout entire pieces, typically withdrawing deeper within.

This thesis is deals with Hrabal's novella Too Loud a Solitude in the English translation and its reception. First, it briefly describes Hrabal's life and work in the context of the co called normalization period in Czechoslovakia, focusing on the novella itself and the three variations of the original Czech text. Before the translation analysis, the possible source text for the translation is discussed since the endings of the Czech text and the English translation are considerably different. The source of the difference was determined by consulting the French translation and related commentary. The analysis compares the ending of the original with the endings of the English and the French translation, translation of proper names and three selected sections of the Czech and the English text. Afterwards, the thesis describes the reception of the novella in Czech and English literature and also readers' reviews at the Goodreads website. The analysis and the reception are assessed on the basis of the theory of cultural manipulation. The most important achievements are: identifying the source text for the English translation, description of translation method and shifts and discussion of differences between the Czech and the English attitude to the novella. Powered by TCPDF (www.tcpdf.org)

Le droit français est confronté à des normes d'inspiration musulmane depuis l'arrivée en France de nombreuses personnes ressortissantes des pays musulmans anciennement colonisés par la France. Cette rencontre du droit français avec le droit musulman est réelle car le droit international privé soumet les questions relatives à l'état des personnes à la loi nationale. Malgré la tendance actuelle du droit international privé français qui favorise la compétence de la loi française par rapport au droit étranger, les règles de conflit françaises relatives à la filiation ne sont pas hostiles au droit étranger. Le juge français est donc confronté au modèle musulman de filiation fondée cumulativement sur le mariage et sur le lien du sang. Les conséquences de ce modèle posent certaines difficultés notamment l'exclusion de la filiation naturelle et l'interdiction de l'adoption. Ces prohibitions musulmanes sont comprises comme étant en décalage avec l'évolution du droit français de la filiation qui a abandonné la distinction filiation naturelle et filiation légitime. Cette thèse propose une vision à la fois originale et authentique du droit musulman de la filiation pouvant ouvrir la voie à une réception positive de ce droit souvent présenté comme irrémédiablement opposé au droit français. / The French law is confronted with standards of Muslim inspiration since the arrival in France of numerous people nationals of the Muslim countries formerly colonized by France. This meeting of the French law with the right(straight) Muslim is real because the private international law submits the questions relative to the state of the people in the national law. In spite of the current trend(tendency) of the French deprived international law which favors the skill(competence) of the French law with regard to(compared with) the right(straight) foreigner(foreign countries), the French rules(rulers) of conflict relative to the filiation are not hostile to the right(straight) foreigner(foreign countries).he French judge is thus confronted with the Muslim model of filiation based(established) concurrently on the marriage and on the blood relationship. The consequences of this model put certain difficulties in particular the exclusion from the natural filiation and the ban on the adoption. These Muslim prohibitions are understood(included) as being out of step with the evolution of the French law of the filiation which abandoned(gave up) the distinction natural filiation and justifiable filiation. This thesis(theory) proposes a vision at the same time original and authentic of the right(straight) Muslim of the filiation which can open the way to a positive reception of this right(law) often presented as irreparably opposite(opposed) to the French law.

This study retraces the principal moments of the Latin reception of John Chrysostom between c.1440 and 1600 and how they reflect on the study of ancient Christianity in early modern Europe. After a short Introduction to Chrysostom’s reception in medieval Europe and existing historiography on early modern patristics, the first section of this study focusses on the reception of Chrysostom in the fifteenth century. Chapter 1 examines the collaboration between cardinal Jean Jouffroy and the humanist translator Francesco Griffolini in Renaissance Rome. Chapter 2 explores the career and editorial work of the scholastic writer Johannes Heynlin and his impact on Basel’s rise as a centre of patristic studies. The second part of this study investigates the translations and interpretations of Chrysostom by the renowned Dutch humanist, Desiderius Erasmus. Chapter 3 argues that Erasmus advanced Chrysostom as a Pauline theologian in a way deliberately opposed to contemporary Latin traditions of exegesis. Chapter 4 interprets Erasmus’ editions and translations of Chrysostom against the breakdown of his friendship with the Protestant theologian Johannes Oecolampadius. Chapter 5 asks whether Erasmus’ biography of Chrysostom and criticism of spurious texts of the Greek church fathers confirms or contrasts recent investigations of Erasmus’ scholarship on their Latin counterparts. The third part of this study follows the reception of Chrysostom’s life and works in the Catholic world during and after the Council of Trent. Chapter 6 studies the use of Chrysostom’s works at this Council by cardinal Marcello Cervini and his client Gentian Hervet. Chapter 7 uses Chrysostom’s changing place in the Roman breviary to explore Catholic attitudes to historical scholarship and the Greek church in the sixteenth-century. A short conclusion suggests avenues for future research into the reception of Chrysostom in early modern Europe.

Une question posée en 1970 par la critique française est le point de départ de ce travail : « y-a-t-il des écrivains en Albanie? » Cette thèse s'emploie à creuser les différentes strates de la réception des écrivains albanais en France. En partant de l'interrogation sur les attentes de lisibilité envers la littérature albanaise, nous analysons le processus de sa réception. En considérant d'une part cette réception avant la publication du Général de l'armée morte, qui s'avère être une non-réception et, d'autre part, le succès immédiat de ce roman de Kadare, nous mettons en évidence l'horizon d'attente d'une œuvre albanaise dans la France de 1970.Par le biais de la notion de lisibilité, nous démontrons la réception en termes d'émergence de la littérature albanaise et le processus de création du personnage Kadare, par la vulgate critique. Ce personnage deviendra par la suite le moule réceptacle dans lequel devront se couler les autres écrivains albanais. La caractéristique principale de ce moule semble être la considération des écrivains albanais comme des témoins du traumatisme historique du pays. Pourtant, les écrivains récusent ce statut d’homo politicus, ils se revendiquent homo poeticus, détruisant ainsi le moule, à commencer par Kadare lui-même. Ceci permet le passage d'une vulgate réductrice à une réception créatrice de la littérature albanaise. Opérée par l'écrivain français Éric Faye, la réception créatrice permet une forme de consécration de la littérature albanaise qui, nourrie depuis toujours par les grands noms de la littérature européenne, devient, à son tour, impulsion créatrice pour un écrivain européen. / The starting point of this work is a question of the ’70s French literary critics : “Are there writers in Albania ?” This work aims to analyze the different layers of the process of reception towards Albanian writers in France during the last 40 years.We analyze the process of albanian litterature reception starting from the question about readability expectations towards it. Considering firstly the reception before the publication of the General of the dead army and secondly the immediate success of this Kadare’s novel, we underline the expectation features towards the Albanian literature in France during the ’70s. Using the concept of readability as a background, we show that this reception encompasses two main features : Albanian literature as an emergent literature and the creation process of a prototypical character named ’Kadare’ from the French vulgate critic. This character will become the pattern to which all Albanian writers would henceforth have to fit.From the perspective of the critic, the main feature of this pattern seems to be the consideration of Albanian writers as witnesses of the historical trauma in their country. The Albanians writers, on the other hand, challenge this status of homo politicus and declare themselves as homo poeticus, breaking the pattern, starting from Kadare himself. This allows a shift from a simplistic vulgate to a creative reception towards Albanian literature. Operated by the French writer Eric Faye, creative reception can be seen as a form of consecration of the Albanian literature, since Albanian literature which has always been nourished from the great names of European literature becomes itself a creative impulse for a European writer.

A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

La figure de lecteur, prégnante dans les romans britanniques des XVIIIe et XIXe siècles, est porteuse de sens pour l’histoire du roman. Intimement liée à l’histoire du livre et à la discontinuité de lecture qu’impose la publication des romans en plusieurs volumes ou épisodes, elle s’impose aussi comme une représentation plus ou moins fidèle du lectorat. La figure de lecteur reconstruit ainsi l’histoire complexe que le roman entretient avec ses lecteurs. Derrière une bienveillante volonté d’inviter le plus grand nombre à la lecture romanesque se cache en réalité une tendance à la définition du lectorat par exclusion. Pour aussi paradoxal que cela soit, le roman a peur de ses lecteurs. Mus par la volonté de dissocier le genre des vulgaires « romances », les auteurs ne vont avoir de cesse de repousser en marge de leur texte tant de lecteurs indésirables susceptibles de faire échouer l’édifice littéraire aux préceptes encore très classiques qui se met en place. Au-delà, la figure de lecteur ne saurait être qu’une simple affaire de représentation : elle est aussi un double narratif, une sorte de miroir érigé au narrateur-auteur qui met à profit ce reflet inversé pour construire l’instance narrative encore bien peu légitime qu’il représente. Figure de lecteur et narrateur-auteur sont indissociablement liés. Ainsi les variations d’apparition de la figure de lecteur dans le texte n’ont d’égal que la fragilité de la voix auctoriale et l’expression de l’angoisse de réception que trahit une très symptomatique rhétorique de dépréciation. / Pregnant as it is in 18th and 19thC British novels, the reader in the text is potent with meaning for the history of the novel. Related to the history of the book and the discontinuous act of reading imposed on readers by the publication of novels in different volumes or episodes, the reader figure may also be seen as a more or less faithful representation of actual readers. The reader figure thus retraces the complex history of the relationship between the novel and its readers. Behind what appears as a complacent will to invite the widest audience to the reading of novels, a more systematic tendency to define readership by exclusion can hardly be concealed. Paradoxical as this may be, the novel has much to fear from its readers. Moved by their will to have the genre clearly distinguished from vulgar romances, the authors will repeatedly push those unwelcome readers likely to lead the whole literary edifice to a collapse back to the margins of their texts. But the reader cannot just be a matter of representation: it also is a narrative double, a sort of mirror erected to the self-conscious narrator who uses it to build up the hardly legitimate literary authority he stands for. Thus the reader figure and the self-conscious narrator are linked by an indissolvable bond. The variations in number of reader figures only reverberate the frailty of the authorial voice and the anxiety of reception expressed in a highly symptomatic text-undermining rhetoric.