Le safran est un crocus d'automne qui produit une épice de grande valeur. Plusieurs safranières ont été implantées au cours des dernières années au Québec. Cependant, le type de sol et les conditions climatiques diffèrent passablement par rapport aux pays d'où origine la culture, ce qui nous a mené à tester plusieurs aspects susceptibles d'influencer le rendement en safran, notamment la profondeur et la période de plantation ainsi que l'application d'une combinaison de fertilisants, champignons mycorhiziens et biostimulants à la plantation. Puisque la température influence fortement la floraison chez le safran, un suivi en continu des températures du sol a été effectué durant toute l'année, et un suivi hebdomadaire de l'initiation florale de mai à août. L'émergence des feuilles et des fleurs est retardée et diminue avec la profondeur de plantation. Une plantation à 10 ou 15 cm semble préférable, mais stimule la production de cormes trop petits pour fleurir. La meilleure période de plantation est de la fin juillet jusqu'à la troisième semaine d'août. La fertilisation a accéléré l'émergence des feuilles à l'automne, et a augmenté le nombre de cormes produits ainsi que leur teneur en nutriments. L'ajout de spores de champignons mycorhiziens ainsi que de biostimulants n'a eu aucun effet sur la floraison ou le rendement en safran. Tout traitement confondu, la production de fleurs n'a été bonne qu'une seule année sur les trois années de l'étude. Il semble que le sol ne soit pas assez chaud en juillet lors de l'induction florale. De plus, dans le secteur à l'étude, les températures diminuent trop rapidement à l'automne ce qui retarde la floraison et réduit les rendements. Il est proposé de cultiver le safran dans des secteurs plus méridionaux et de recourir à des techniques visant à réchauffer le sol afin d'augmenter les rendements en safran au Québec. / Saffron is an autumn crocus that produces a highly valuable spice. Several saffron farms have been established over recent years in the province of Quebec. However, the edaphic and climatic conditions differ considerably compared to the countries of origin of the crop, which led us to test several aspects that could influence the saffron yield, including planting depth and planting period as well as the application of a combination of fertilizers, mycorrhizal fungi and biostimulants at planting. Since temperature strongly influences saffron flowering, continuous monitoring of soil temperatures was carried out throughout the year, along with a weekly monitoring of flower initiation from May to August. Both leaf and flower emergence were delayed, and final emergence reduced as planting depth increased. Planting at 10 or 15 cm seems preferable but stimulates the production of corms too small to flower. The best planting period is from the end of July until the third week of August. Fertilization hastened leaf emergence in the autumn and improved corm production and their nutrient content. The addition of mycorrhizal fungal spores as well as biostimulants had no effect on flowering or saffron yield. All treatments combined; flower production was good in only one of the three study years. It seems that the soil does not warm enough in July during flower induction. Moreover, in the study area, temperatures drop too rapidly during autumn, which delays flowering and reduces yields. It is proposed to cultivate saffron in more southern areas and to use techniques aimed at soil warming in order to increase saffron yields in Quebec.

Reproduction de : Thèse de doctorat : Sciences des agroressources : Toulouse, INPT : 2005. / Titre provenant de l'écran-titre. Bibliogr. 230 réf.

Not long after the release of his first novel, Everything is Illuminated, critics and authors alike began showering Jonathan Safran Foer with both praise and disparagement for his postmodern style. Yet, this large body of criticism ignores the theoretical work taking place within Foer's fiction. This thesis attempts to fill this gap by highlighting specific aspects of Foer's theoretical work as it relates to the creation of meaning in a text and to explore what this work might imply for the broader literary community. Much of Foer's work toys with the capacity of language to express meaning, indulging in the playfulness of language throughout his work to highlight the place where at written language blurs the line between word and flesh, or language and experience. In this playfulness, Foer seems to assert that meaning is created in the space between language and experience through the act of metaphor. This theory of metaphor places the individual, the author, and the critic all in a creative position and the narrative content of Foer's works examines how this creative power is used by individuals to create a world of meaning out of experiences that seem to have none. In this way, Foer argues that the creative act of metaphor is a redemptive act—an act of saving one's self from the void. Such a conclusion can be applied to all who use the word to create, particularly authors and critics, wherein the creative act as well as the interpretive act become acts of redemption.

Cette étude propose d’explorer les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman, à travers la notion de trace, principe fondateur de l’esthétique et de l’éthique des écritures de l’après-Shoah. L’expérience lacunaire de ces « générations d’après » implique la présence d’une « postmémoire », dont le caractère « différé » sollicite le travail de l’imagination et informe la démarche créatrice de ces artistes et écrivains de l’après, qui reconstruisent le passé de leurs familles. Ces récits de la hantise sont marqués par une « mémoire trouée », et découlent souvent d’une rupture de la filiation, donc d’une défaillance de la transmission. Engagés dans une quête de savoir, narrateurs et protagonistes interrogent l’événement à partir de traces matérielles, ainsi qu’au travers de retours, réels et imaginaires, sur les lieux de l’origine. Ces récits sont composés de matériaux hétérogènes qui créent des ruptures visuelles, et sont informés par divers dérèglements temporels : désordres, disruptions chronologiques, latence et répétition – tous symptomatiques de l’après-coup du trauma. Ces textes postmémoriels posent enfin la question de l’éthique de la représentation. Performativité de la langue, fictionnalisation de l’Histoire, et enjeux de la transmission sont au cœur de ces œuvres en devenir, et interrogent l’éthique de la responsabilité de leurs auteurs, entre passation et travail de deuil. / This study explores the works of Jonathan Safran Foer, Daniel Mendelsohn, and Art Spiegelman through the notion of trace, the founding principle of the aesthetics and ethics of post-Holocaust writing. The incomplete knowledge of these “post-Holocaust generations” implies the presence of a “postmemory”, the “deferred” nature of which requires the imagination to be put to work and informs the creative approach of these post-Holocaust artists and writers, reconstructing their family’s past. These haunting narratives are marked by a “memory shot through with holes” and are often the result of a break in the bond of filiation, and therefore a hiatus of transmission. Having embarked on a quest for knowledge, narrators and protagonists examine the event through material traces, as well as real or imaginary returns to their places of origin. These narratives are made up of heterogeneous elements which create visual ruptures and are informed by various temporal disruptions: disorders, chronological breaks, latency and repetition – all symptomatic of the deferred action of trauma. Finally, these postmemorial texts raise the issue of the ethics of representation. The performativity of language, the fictionalization of History, and the issue of transmission are at the heart of these works in the making, and ethically question their authors’ responsibility, between transfer and the work of mourning.

What is the relationship between writing in the present and the traumatic historical events that form the subject of that writing? What narrative strategies do authors employ in order to negotiate the ethical and epistemological problems raised by this gap in time and experience? “Trauma theory” is undermined by clinical controversies and contradictory claims for “literal truth” and “incomprehensibility”. Similarly, the Holocaust has been considered inherently unrepresentable unless by those who witnessed it, leading to a false opposition between genres of “testimony” and “fiction”. A way out of these dead ends is to consider the role of the first-person narrator in contemporary Holocaust narratives. While use of this device risks an inappropriate level of identification with those whose experience is both extreme and unknowable, I argue that this problem may be resolved to an extent through “transgenerational empathy”, an approach to the past that is self-reflexive, incorporates ideas of time, memory and generations, and moves both towards and away from the victims of the past in a simultaneous gesture of proximity and distance. For this theory I draw on Dominick LaCapra’s definitions of empathy and “empathic unsettlement”, and on Hans-Georg Gadamer’s concept of the “fusion of horizons” between past and present. Transgenerational empathy involves giving equal weight to “memory” and “history”. An over-emphasis on memory leads to narratives that are merely identificatory, such as Anne Michaels’ Fugitive Pieces and Binjamin Wilkomirski’s Fragments. In contrast, W. G. Sebald’s use of a narrative persona in The Emigrants and Austerlitz enables transgenerational empathy in narrative by simultaneously imposing layers of distance while establishing close personal connection. Similarly, Jonathan Safran Foer’s third-generation aesthetic of “post-postmemory” in Everything is Illuminated uses a “dual persona” device to foreground empathically the abyss at the heart of any attempt to recapture the past. My analysis of these authors draws on the writings of Gillian Rose, Paul Ricoeur, Marianne Hirsch and Jacques Derrida. However, the concept of “transgenerational empathy” would benefit from further research, both in terms of its “temporal dimension” and the use of narrative personae by other contemporary authors such as Philip Roth.

Dans ce travail, nous avons adapté et mis en oeuvre le modèle de neige CROCUS pour le calcul et la reconstruction du bilan de masse des glaciers alpins. Le bilan de masse est calculé au pas horaire à partir des données de température, vitesse du vent, humidité, précipitations, rayonnement infra-rouge, rayonnement solaire direct et diffus et nébulosité. Il est spatialisé sur l'ensemble de la surface du glacier avec un pas horizontal de 200 m. Les données météorologiques pour la validation du modèle proviennent du modèle SAFRAN. La glace de glacier a été introduite dans CROCUS (albédo, rugosité), et la chaîne SAFRAN/CROCUS a été validée à partir de mesures de terrain et de reconstructions photogrammétriques du bilan de masse de surface et d'images satellite de la ligne de neige. Le bilan de masse pour la période 1981-2004 est reconstruit pour les glaciers de St Sorlin et d'Argentière, en bon accord avec les données disponibles.<br /><br />Le modèle permet de tester la sensibilité du bilan de masse des glaciers aux paramètres météorologiques. Pour des amplitudes de variations des paramètres météorologiques compatibles avec un changement climatique réaliste (prévisions climatiques de type IPCC), la température se révèle le paramètre dominant, et la sensibilité de l'altitude de la ligne d'équilibre est de 125 m.K-1, ou même 160 m.K-1 si la variation concomitante du rayonnement infra-rouge est prise en compte. L'impact de la variabilité des paramètres et des combinaisons de paramètres entre eux n'est pas négligeable par rapport à l'impact d'un changement de la moyenne météorologique (tendance).<br /><br />Des simulations longues de bilan de masse ont été effectuées sur la période 1800-2165, en utilisant des résultats de simulations climatiques réalisées par plusieurs modèles de circulation générale dans le cadre de l'IPCC AR4. D'après le modèle, le glacier de St Sorlin devrait disparaître avant 2100.

Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 23, 2007) Includes bibliographical references.

Universiẗat Diss., 2005--Bonn.

Made available in DSpace on 2016-04-13T12:03:47Z (GMT). No. of bitstreams: 1 000478018-Texto+Completo-0.pdf: 15638701 bytes, checksum: 5dadbe6edaac495026cdbf2bffb36b93 (MD5) Previous issue date: 2016 / This thesis studies the works of Brazilian author Valêncio Xavier and North American author Jonathan Safran Foer, both of which, through narratives composed by newspaper articles, drawings, photographs, maps, flip books and by a peculiar textual disposition, transcend the traditional notion of romance mostly by incorporating other artistic manifestations, which allows them to be denominated as hybrid and interartistic narratives. Discussing these authors’ works consists on using alternative and current theories in order to analyze the intersection between word and image. Such contemporary and profane narratives, if they are considered through the concepts of Giorgio Agambem, subvert and illuminate the book as object and support, restoring the playful aspect of reading and the pleasure of the unexpected in each page. Hence, the aforementioned texts are analyzed as representatives of a narrative that is contemporary because it profanes themes and supports and, consequently, analyzed through questions related to visual narratives and interartistic poetics, to fictional games and intertextual collage and still, and through the reflection on the themes shared by them: the re-elaboration of memory as well as the joys and sorrows of childhood and old age. The narratives Minha mãe morrendo e o menino mentido, Meu sétimo dia: uma novella rébus, “Rremembranças de menina de rua morta nua”, “Maciste no inferno” and “Mistério mágico”, written by Valêncio Xavier and the novels Everything is illuminated and Extremely loud & incredibly close, the unclassifiable Tree of Codes and the short story “If the Aging Magician Should Begin to Believe”, by Jonathan Safran Foer are discussed in order to highlight their similarities in terms of formal composition strategies. Just as much as Valêncio Xavier and Jonathan Safran Foer profane themes and supports, the present thesis also aims to subvert the subjectile it deals with in a certain way, playing and interacting with the works and authors, since, as Roland Barthes once said, there’s no other way of dealing with authors and their works other than writing with them. / Esta tese estuda as obras do autor brasileiro Valêncio Xavier e do autor estadunidense Jonathan Safran Foer, que, a partir de narrativas compostas por artigos de jornal, desenhos, fotografias, mapas, flip books e por uma disposição textual peculiar ultrapassam a concepção tradicional do que se entende como romance ao incorporarem, sobretudo, outras manifestações artísticas, o que permite que sejam denominadas como narrativas híbridas e interartísticas. Discutir as obras de Valêncio Xavier e as de Jonathan Safran Foer consiste na utilização de teorias tradicionais e contemporâneas para a análise da intersecção entre palavra e imagem. Tais narrativas contemporâneas e profanadoras, se pensadas a partir de conceitos de Giorgio Agamben, subvertem e iluminam o livro enquanto objeto e suporte, restituindo o aspecto lúdico à leitura e o prazer do inesperado a cada página. Desse modo, os textos desses escritores são analisados aqui como representantes de uma literatura que é contemporânea por ser profanadora de temas e de suportes e, consequentemente, analisadas a partir de questões relacionadas às narrativas visuais e às poéticas interartísticas, aos jogos ficcionais e da colagem intertextual e, ainda, a partir da reflexão sobre os temas que compartilham: a reelaboração da memória, as alegrias e tristezas infantis e senis. As narrativas Minha mãe morrendo e o menino mentido, Meu sétimo dia: uma novella rébus, “Rremembranças de menina de rua morta nua”, “Maciste no inferno” e “Mistério mágico”, de Valêncio Xavier, e os romances Everything is illuminated e Extremely loud & incredibly close, o inclassificável Tree of Codes e o conto “If the Aging Magician Should Begin to Believe”, de Jonathan Safran Foer, são discutidos a fim de se evidenciar as suas semelhanças nas estratégias formais de composição. Assim como Valêncio Xavier e Jonathan Safran Foer profanam temas e suportes, esta tese também objetiva subverter em certa medida o subjétil com que lida, jogando e dialogando com as obras e os autores estudados, pois, como afirma Roland Barthes, não há como se tratar de obras e de autores sem escrever com eles.

Safran (Crocus sativus) ist eine wertvolle Gewürzpflanze. Alleiniger Anbau führt zu Monokultur und vermehrter Verunkrautung während der Vegetationspause im Sommer. Das Ziel dieser theoretischen Studie war herauszufinden, welche Pflanzenarten zwischen den Safranreihen kultiviert werden können.:Inhaltsverzeichnis 1 Einleitung 1 2 Lagebeschreibung 2 3 Betriebsbeschreibung 3 4 Botanik Crocus sativus 7 5 Kulturverfahren 9 6 Nebenfruchtanbau 11 6.1 Gemüse und Obst 13 6.2 Zierpflanzen 15 6.3 Getreide 17 6.4 Leguminosen 19 6.5 Ölpflanzen 22 6.6 Kräuter 25 7 Diskussion 27 7.1 Gemüse- und Obst 28 7.2 Zierpflanzen 31 7.3 Getreide 34 7.4 Leguminosen 36 7.5 Ölpflanzen 38 7.6 Kräuter 40 8 Zusammenfassung 43 9 Anhang 44 10 Literaturverzeichnis 51 / Saffron (Crocus sativus) is a valuable spice plant. Sole cultivation of saffron leads to monoculture and increases weed growth in the vegetative dormancy period. The aim of this theoretical study was to determine which plants species could be cultivated between saffron rows.:Inhaltsverzeichnis 1 Einleitung 1 2 Lagebeschreibung 2 3 Betriebsbeschreibung 3 4 Botanik Crocus sativus 7 5 Kulturverfahren 9 6 Nebenfruchtanbau 11 6.1 Gemüse und Obst 13 6.2 Zierpflanzen 15 6.3 Getreide 17 6.4 Leguminosen 19 6.5 Ölpflanzen 22 6.6 Kräuter 25 7 Diskussion 27 7.1 Gemüse- und Obst 28 7.2 Zierpflanzen 31 7.3 Getreide 34 7.4 Leguminosen 36 7.5 Ölpflanzen 38 7.6 Kräuter 40 8 Zusammenfassung 43 9 Anhang 44 10 Literaturverzeichnis 51