This study of the Salome legend in the arts covers the historical background of the Salome legend, Salome in the early Christian era and in the Middle Ages, Salome in the Renaissance, and Salome in modern times.

Inaug.-diss.--Münster. / Lebenslauf. "Literaturverzeichnis": 3d p. l.

In this thesis, software adgfem is extended to be capable of calculation of non- linear magnetic field in complex geometry. Software adgfem implements discontinuous Galerkin method and so far has been used mainly to solve convection-diffusion problems and lacked streamlined approach to computational mesh generation. This thesis contains step-by-step guideline to creation of complex geometry using software SALOME. This mesh is then converted to format suitable for adgfem using newly written convertor datToAdgfem. Mesh created in this way is then used for calculation of non-linear static magnetic field.

This thesis deals with solving stationary magnetic field in material with non-constant magnetic reluctivity in realistic geometry. To this end, we extended adgfem software. Software adgfem implements discontinuous Galerkin method and so far has been used mainly to solve convection- diffusion problems and lacked streamlined approach to computational mesh generation. This thesis contains step-by-step guideline to creation of complex geometry using software SALOME. This mesh is then converted to format suitable for adgfem using newly written convertor datToAdgfem. Mesh created in this way is then used for calculation of non-linear static magnetic field.

Inaug.-Diss.--Heidelberg. / Vita. Bibliography: p. 320-327.

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de si??cle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ G??rard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Si??cle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de siècle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ Gérard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Siècle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

Étant un personnage secondaire issu de l’épisode évangélique qui raconte le martyre de Jean-Baptiste, Salomé est devenue un des thèmes préférés dans la littérature et les arts de la seconde moitié du XIXe siècle. En faisant partie des « femmes fatales », elle correspond bien aux interprétations fin-de-siècle : la faiblesse de l’homme, le pouvoir de la femme, l’esthétique raffinée mais morbide, la décadence nonchalante mêlée à un effroi irrémédiable. Le célèbre drame d’Oscar Wilde fait d’elle le sujet d’une réflexion philosophique du désir et de la mort. La fin du XIXe siècle ne signifie pas la fin de l’évolution de la figure de Salomé. Au contraire, elle constitue un nouveau point de départ. Au XXe siècle son histoire a connu non seulement un enrichissement au niveau structurel, mais aussi une diversification formelle. Aujourd’hui, les textes qui abordent Salomé forment un système. La formation et la transformation de ce système demande une observation qui porte une attention particulière à la continuité et à la rupture, à l’héritage et au renversement. Lorsque la danseuse est mise à côté du martyr, l’histoire doit faire face au déchirement : l’homme et la femme, le vocable et le visuel, l’ascétisme et le désir…d’où l’incertitude et la diversité de l’interprétation qui permettent à l’histoire de Salomé de résister à l’écoulement du temps. L’existence d’une multitude de textes sur le même mythe crée un espace où l’étude intertextuelle est rendue possible. / As a secondary character from the Gospel story that recounts the martyrdom of John the Baptist, Salome became one of the favorite themes in art and literature of the second half of the nineteenth century. As one of the “ femmes fatales ”, this figure corresponds to the Fin de Siècle imagination : the man’s weakness , the women’s power, the refined aesthetic but morbid, the decadence mixed with an irremediable terror. The famous play of Oscar Wilde made her the subject of a philosophical reflection of the desire and the death. The end of the nineteenth century doesn’t mean the end of the evolution of this mythic figure. On the contrary, it becomes a new starting point. In the twentieth century, Salome’s story has been enriched not only at the structural level, but also by a formal diversification. Today, the writings about Salome form a system. The formation and transformation of this system requires an observation that pays particular attention to the continuity and rupture, to the inheritance and reversal. When the dancer is compared to the martyr, the Salome’s story has to face a series of contrast : man and woman, word and vision, asceticism and desire ... The uncertainty and the diversity of interpretation allow the story of Salome to resist the passage of time. A multitude of texts on the same myth creates a space where the intertextual study is possible.

The usage of welding in the process of manufacturing has become very widespread, mainly due to its low cost, versatility and the possibility of its automation. With its expansion comes higher demand for the possibilities of weld evaluation during the phase of design. Nowadays its possible to use tools based on finite element method for such evaluation. But the most commonly used tools are often very expensive. Therefore, the possibility of using Open-Source tool such as Salome-Meca to simulate the welding process as an alternative to commercial software was investigated. The first part of the work deals with the welding process and a description of the formation of residual stresses and deformations. It also deals with the description of the Salome-Meca software environment and the Code-Aster solver. In the next part the capabilities of the software in relation to problem of welding simulation are discussed. Furthermore, the goemetry of solved weldment, welding conditions, material properties and boundary conditions of the calculation are described. And finally, the individual solutions, their results and disadvantages of used approaches.

La conception d'applications scientifiques à base de couplage de code est une tâche complexe car elle demande de concilier une facilité de programmation et une obtention de haute performance. En outre, les ressources matérielles (supercalculateurs, grappes de calcul, grilles) permettant leur exécution forment un ensemble hétérogène en constante évolution. Les modèles à base de composants logiciels forment une piste prometteuse pour gérer ces deux sources de complexité car ils permettent d’exprimer les interactions entre les différents constituants d’une application tout en offrant des possibilités d'abstraction des ressources. Néanmoins, les modèles existants ne permettent pas d'exprimer de manière satisfaisante les applications constituées de motifs répliqués dynamiques et hiérarchiques. Ainsi, cette thèse vise à améliorer l'existant – et en particulier la plate-forme générique de simulation numérique SALOME – pour une classe d'applications très répandue : les applications à base de décomposition de domaine et la variante utilisant le raffinement de maillage adaptatif. Tout d'abord, nous avons proposé d’étendre le modèle de composition spatial et temporel de SALOME en ajoutant la possibilité de définir dynamiquement la cardinalité des composants. Cela demande en particulier de gérer les communications de groupes ainsi induites. La proposition a été implémentée dans SALOME et validée via une application de décomposition de domaine à base de couplage de plusieurs instances de Code_Aster. Ensuite, nous avons étudié la pertinence d'utiliser un modèle de composant supportant des connecteurs natifs (MPI, mémoire partagée, appel de méthode) pour permettre une composition plus fine des interactions entre composants. Les résultats d'expériences montrent que des performances équivalentes aux versions natives sont obtenues tout en permettant de manipuler facilement l'architecture de l'application. Enfin, nous avons étudié les extensions nécessaires aux modèles à composants (abstraction,hiérarchie, dynamicité) pour la conception d’applications de raffinement de maillage adaptatif. Les modèles de composants spatio-temporels les plus avancés permettent ainsi d'exprimer ce type d'application mais les performances sont limitées par leur mise en œuvre centralisée ainsi que par le manque de moyens efficaces pour modifier à la volée des assemblages de composants. / Designing scientific applications based on code coupling is a complex task. It requires both an easy programming process and high-performance. In addition, execution resources (supercomputers, computer clusters, grids)  are heterogeneous and constantly evolving. Software components models offer a promising perspective to manage this double complexity because they can express interactions between the different parts of an application while providing abstraction of resources. However, existing models cannot accurately express the applications made of dynamic and hierarchical patterns. The aim of this thesis is to improve the existing models, and in particular the generic platform for numerical simulation SALOME, for a class of widespread applications : applications based on domain decomposition, and its dynamic variant using adaptive mesh refinement. Firstly, we proposed to extend the spatial and temporal composition model provided by SALOME, by adding the ability to dynamically set component cardinality. This requires in particular to manage group communications induced. The proposal has been implemented into SALOME and validated via a domain decomposition application based on coupling several instances of Code_Aster.Then, we have studied the relevance of using a component model supporting native connectors (MPI, shared memory, method invocation), in order to allow finer composition interactions between components.The experiment results show that performances obtained are equivalent to those of the native versions, while allowing to easily manipulate the application architecture. Finally, we studied the necessary component models extensions (abstraction, hierarchy, dynamicity) for designing adaptative mesh refinement applications. The most advanced spatio-temporal component models can express this type of application but performances are limited by their centralized implementation and by the lack of efficient ways of modifying component assembling at execution time.