No description available.

This thesis examines the sexual development and characterization of the title character in Richard Strauss’s Salome (1905). It contends that Salome experiences a sexual evolution—a "maturing"—that Strauss derives from Oscar Wilde's play and further emphasizes through Salome's musical language and character development. Three structural phases in Salome's sexual development are proposed: a pre-pubescent phase, a phase of sexual awakening, and a phase of dangerous sexuality. The characterization of Salome is also explored through the lens of performance theory, in an examination of the film versions of Götz Friedrich (1974), Jürgen Flimm (2004), and David McVicar (2008). In addition, the thesis applies Wildean literature on aestheticism and spirituality to Strauss’s opera to show that Salome’s sexual transformation presents an alternative path to self-fulfillment apart from religious salvation. Strauss’s setting reveals a secular, or temporal, aestheticism that leads to an earthly spirituality.

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.

The presented thesis was created in cooperation with Siemens, s.r.o. and deals with the analysis of the bending of aluminium sheets. These products are used as conductors of electrical energy. The problem happened when the bending angle was 90 ° when there was a violation outside of the bend. The aim of the thesis is to verify whether the bend is correctly designed using analytical and empirical relations and the finite element method. Because of the requirement for running numerical simulation on one of the freely available software the Salome Meca program environment was used. The results of numerical simulation did not confirm that the violation should occur. In deeper analysis appeared doubts whether it is possible to correctly evaluated result only by data from tensile test. In the final part, there are recommended some experiments which would be necessary for the correct calibration of the ductil fracture criteria.

The content of master´s thesis is to introduce with OpenSource software, which use finite element method and to study facilities implementation of free accessible library solvers, meshes and visualization tools. Further there are individual modules introduced. Is chosen suitable combination of OpenSource tools, which create full simulation facility for finite element method. In the conclusion, several electromagnetic examples are solved.

No description available.

No description available.

This thesis argues that Ella Ferris Pell's 1890 painting, Salome, provides a unique interpretation of the ideals of the New Woman, specifically in terms of reclaiming female power through Salome's confidence in her sexuality. By examining the cultural context in which Pell exhibited her painting, as well as her background as an artist, I hope bring to the light the significant ways in which Pell's Salome participates in the construction of the New Woman in late nineteenth-century culture. Since Pell was an American woman who trained and exhibited in both the United States and France, this paper explores the significance of the New Woman in both countries. Through the examination of these ideas, we can better appreciate the way in which Pell approached her painting and why it was not well received in Paris—despite its popular subject matter, technical execution, and relevance to the popular topic of the women's movement. Drawing upon the rich visual culture of this era, I offer a comparative study of how both images of women and actual women embraced sexuality and femininity as a means of exerting influence over men, and by so doing, carved out a sphere of influence in a male-dominated society.

Presented diploma thesis was created in cooperation with Siemens s.r.o., and deals with the analysis of the bending of aluminium sheets which are later used as a conductors of high voltage electrical energy. These parts are completed into assemblies which serves as connectors of particular segments of an electrical network. The problem occurs as a result of incorrect bend, because it is impossible to join these sections properly. The customer would like to verify if the defined tolerances of semi-finished products are sufficient for proper bend and in case they are not, the tolerances should be modified. Due to the requirement for running numerical simulation in one of the open source software, the Salome-Meca program environment was used.

L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècle. / The biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century.