Zugl.: Bonn, Universiẗat, Diss., 2006.

Cette thèse présente une étude mythocritique de la production romanesque de Manuel de Lope [1949] postérieure à son retour en Espagne en 1993 et jusqu’à aujourd’hui : El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). En effet, un séjour de vingt-cinq ans hors d’Espagne lui a permis d’exercer un regard extérieur et fécond sur son propre pays où désormais, il vit et écrit. Son œuvre romanesque recourt aux mythes antiques pour développer les thématiques essentielles dans l’Espagne de ce début de XXI ème siècle que sont la mémoire et l’oubli face à l’Histoire, la quête identitaire à travers les mythes du labyrinthe, du caïnisme, de Dionysos, de Saturne et de Chronos. Tous ces mythes s’organisent autour d’un mythe dominant, celui de Chronos, grâce à une image phare qui éclaire l’identité collective espagnole, image déjà présente dans l’ œuvre goyesque : celle de Saturne dévorant ses fils. / This thesis presents a mythocritical analysis of the novels written by Manuel de Lope (born in 1949) from 1993, when he returned home to Spain, until nowadays: El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). As he had stayed away from Spain for twenty-five years, he was able to look with an external and creative perspective at his own country where he is now living and writing. In his fiction he resorts to ancient myths in order to develop the themes which are essential in the Spain of the early 21st century: memory and obliviousness as regards history as well as the search for identity through the myths of the Labyrinth, cainism, Dionysus, Saturn and Chronos. In Manuel de Lope's work, all these myths are structured around a dominant myth - that of Chronos- thanks to a highly influential image which sheds light on Spanish cultural identity, an image which was already present in Goya's work: Saturn devouring his sons.

La détection et la caractérisation d'exoplanètes apparaissent clairement comme des thèmes centraux de l'observation astronomique pour les années à venir. Les projets spatiaux ou au sol sont nombreux (HARPS, CoRoT, Kepler, JWST, SPHERE...), mais les études théoriques visant à l'analyse et à la compréhension des données recueillies et à venir sont nécessaires. Durant cette thèse j'ai étudié divers processus physiques affectant la structure interne et l'évolution des planètes géantes, aussi bien au sein, qu'à l'extérieur de notre système solaire. J'ai notamment modélisé en détail: -L'impact de l'irradiation intense émise par l'étoile sur l'atmosphère d'une planète à faible distance orbitale, et l'effet induit sur l'évolution interne de cette planète. -Le couplage par dissipation de marée de l'évolution orbitale et thermique d'une planète interagissant avec sa proche étoile parente. -L'effet de la déformation due aux marées sur les paramètres observables d'une planète en transit grâce au suivi photométrique de son passage devant l'étoile. -L'incidence sur la structure et l'évolution d'une diminution de l'efficacité du transport de chaleur par convection due à un gradient d'éléments lourd dans l'enveloppe gazeuse d'une planète géante, conduisant au phénomène de convection double-diffusive. A travers l'étude des ces divers processus, j'ai développé différents modèles analytiques et codes numériques qui sont à la fois flexibles et robustes, et qui permettent maintenant d'étudier certaines propriétés des nouveaux objets substellaires détectés à mesure qu'ils sont découverts. / The detection and characterization of extrasolar planets clearly appears as one of the main goals of observational astronomy for the coming years. Space and ground project are numerous, but theoretical studies aimed at analyzing and understanding available and future data are needed. During this thesis, I study various physical processes affecting the internal structure and evolution of both solar, and extrasolar giant planets. In particular I investigate : -the impact of the intense stellar irradiation received by a close in planet on its subsequent internal evolution. This allows me to quantify the radius anomaly of bloated Hot Jupiters and to constrain their internal composition. -the tidal and centrifugal distortion of a fluid planet. By using both analytical and numerical models, I show how non-sphericity of the planet affects transit measurements, yielding an underestimation of its radius. -how the presence of double-diffusive convection caused by a heavy elements gradient in the gaseous envelope of a planet can decrease the efficiency of its internal heat transport, and affect its structure and evolution. -the coupling between the orbital and the thermal evolution of a planet arising from the strong star-planet tidal interaction. Subsequently, I find that tidal heating alone is not a viable explanation for the observed radius anomaly of transiting planets. Through these different studies, I developed various analytical models and numerical codes that are both flexible and robust, and which now allow one to study the properties of new extrasolar planets and brown dwarfs as they are discovered.

The thesis contains a survey of numerical tools for studying thermomechanical interactions of a two-phase system contained in a domain with an upper bound- ary that forms a free surface. The enthalpy diffused-interface formulation is used for an approximation of the phase change interface and the computing algorithm is benchmarked against an analytical solution of the Stefan problem. Arbitrary Lagrangian-Eulerian kinematical description of the continuum is applied to over- come the difficulty in the form of the free surface. The validity of the approach is examined on a thermal convection benchmark problem. 1

Chapter 1-2:The Cassini RADAR mapper has imaged elevated blocks and mountains on Titan we term ‘ridges’. Two unresolved problems regarding Titan's surface are still debated: what is the origin of its ridges and was there tectonic activity on Titan? To understand the processes that produced the ridges, in this study, (1) we analyze the distribution and orientation of ridges through systematic geomorphologic mapping and (2) we compare the location of the ridges to a new global topographic map to explore the correlation between elevation and ridges and the implications for Titan's surface evolution. Globally, the orientation of ridges is nearly E-W and the ridges are more common near the equator than at the poles, which suggests a tectonic origin for most of the ridges on Titan. In addition, the ridges are found to preferentially lie at higher-than-average elevations near the equator. We conclude the most reasonable formation scenario for Titan's ridges is that contractional tectonism built the ridges and thickened the icy lithosphere, causing regional uplift. The combination of global and regional tectonic events, likely contractional in nature, plus enhanced fluvial erosion and sedimentation near the poles, would have contributed to shaping Titan's tectonic landforms and surface morphology to what we see today. However, contractional structures (i.e. thrusts and folds) require large stresses (8~10 MPa), the sources of which probably do not exist on Titan. Liquid hydrocarbons in Titan's near subsurface must play a role similar to that of water on Earth and lead to fluid overpressures, which enable contractional deformation at smaller stresses (< 1MPa) by significantly reducing the shear strength of materials. We show that crustal conditions with enhanced pore fluid pressures on Titan favor the formation of thrust faults and related folds, in a contractional stress field. The production of folds, as on Earth, is facilitated by the presence of crustal liquids to weaken the crust. These hydrocarbon fluids have played a key role in Titan's tectonic evolutionary history, leaving it the only icy body on which strong evidence for contractional tectonism exists. Chapter 3: Arthur Wichmann's ‘Earthquakes of the Indian Archipelago’ documents several large earthquakes and tsunami throughout the Banda Arc region that can be interpreted as mega-thrust events. However, the source regions of these events are not known. One of the largest and well-documented events in the catalog is the great earthquake and tsunami affecting the Banda islands on 1 August 1629. It caused severe damage from a 15-meter tsunami that arrived at the Banda Islands about a half hour after violent shaking stopped. The earthquake was also recorded 230 km away in Ambon, but no tsunami is mentioned. This event was followed by at least 9 years of uncommonly frequent seismic activity in the region that tapered off with time, which can be interpreted as aftershocks. The combination of these observations indicates that the earthquake was most likely a mega-thrust event. We use an inverse modeling approach to numerically reconstruct the tsunami, which constrains the likely location and magnitude of the 1629 earthquake. Only linear numerical models are applied due to the low-resolution of bathymetry in the Banda Islands and Ambon. Therefore, we apply various wave amplification factors (1.5 to 4) derived from simulations of recent, well-constrained tsunami to bracket the upper and lower limits of earthquake moment magnitudes for the event. The closest major earthquake sources to the Banda Islands are the Tanimbar and Seram Troughs of the Banda subduction/collision zone. Other source regions are too far away for such a short arrival time of the tsunami after shaking. Moment magnitudes predicted by the models in order to produce a 15 m tsunami are Mw of 9.8 to 9.2 on the Tanimbar Trough and Mw 8.8 to 8.2 on the Seram Trough. The arrival times of these waves are 58 minutes for Tanimbar Trough and 30 minutes for Seram Trough. The model also predicts 5 meters run-up for Ambon from a Tanimbar Trough source, which is inconsistent with the historical records. Ambon is mostly shielded from a wave generated by a Seram Trough Source.We conclude that the most likely source of the 1629 mega-thrust earthquake is the Seram Trough. Only one earthquake > Mw 8.0 is recorded instrumentally from the eastern Indonesia region although high rates of strain (50-80 mm/a) are measured across the Seram section of the Banda subduction zone. Enough strain has already accumulated since the last major historical event to produce an earthquake of similar size to the 1629 event. Due to the rapid population growth in coastal areas in this region, it is imperative that the most vulnerable coastal areas prepare accordingly.

No description available.

This dissertation deploys theories of spatiotemporal experience and organization, most prominently Mikhail Bakhtin’s “chronotope,” to set contemporary literature, film, and music into dialogue with theories of post-Wende social and political experiences and possibility that speak, with Francis Fukuyama, as the contemporary as the “End of History.” Where these interlocutors of Fukuyama generally affirm or intensify his view of the contemporary as a time where historical progress slows to a halt, historical memory recedes from view, and the conditions of subjecthood are rephrased from participation in a struggle for progress to mindless consumption and technocratic tinkering, I engage contemporary artwork to flesh out and ultimately peer beyond the boundaries of the real and the possible these social theories articulate. Through a series of close readings of German films, music albums, and novels published between 1995 and 2021, I examine how German authors, filmmakers, and musicians pursue depictions of the malaises of the End of History while also resolutely pointing to the fissures in liberal capitalist hegemony where history—its past and its future—again becomes visible. Mikhail Bakhtin’s notion of the chronotope, a text’s unified expression of space and time, is central to my method of analysis. In tracing the chronotopic contours of contemporary works of music, film, and literature, I argue, we—as readers, viewers, and listeners—are engaged to think and act alongside the forms and figures that populate the worlds their authors create. In doing so, we ultimately uncover forceful accusations, resolute alternatives, and even hopeful antidotes to the deficiencies of our present that help us both to soberly contemplate the implications the pessimistic formulations of contemporary theory have on our lives, communities, and futures but also to formulate possibilities for them that lie beyond their analytical purview.In a series of close readings of my literary, filmic, and musical primary texts, I engage theorists of the post-Cold War, post-Wende contemporary who write about the political order and social conditions emerging out of the triumph of neoliberalism and market capitalism over socialist, communist, and fascist alternatives. The dissertation begins by establishing a wide view of the contemporary, tracing in its first chapter chronotopic resonances of Hartmut Rosa’s “social acceleration” thesis—which locates the aimlessness and alienation of contemporary society within the accelerationist logic of market capitalist modes of production—across the full temporal arc of the contemporary. Pairing Christian Kracht’s Faserland (1995) with Fatma Aydemir's Ellbogen (2017), I argue that the futilities and frustrations of the modern subject, as foretold in Fukuyama’s “End of History” essay and fleshed out in Rosa’s writings on social acceleration, find resonance not only in the wealthy, educated, white protagonist of Faserland’s 1990s, but also in the impoverished, undereducated, Turkish-Kurdish protagonist of Ellbogen some twenty years later. What connects these two accounts across decades and differences in identities, I demonstrate, is not merely a shared sense of alienation and despair, but a shared, underlying chronotopic characterization of the contemporary. These commonalities appear, I demonstrate, when we connect Rosa’s “social acceleration” thesis to diegetic chronotopes of perpetual motion that depict modern subjects’ inability to avail themselves of the ostensibly liberatory potential of liberal capitalism’s accelerated lifeworld. Chapter 2 then considers Byung-Chul Han’s theory of auto-exploitation and the dilemma of the music novel at a time where the rebellion of punk against social integration has been thoroughly incorporated into capitalism. Reading Marc Degens’ Fuckin Sushi (2015), I examine the novel’s concept of “Abrentnern” as a model for personal and communal fulfillment for those who turn to art as a means self-determination in the age of auto-exploitation. Unlike Kracht and Aydemir, however, Degens sees the closing off of historical possibilities for the good life enjoyed by his punk forbears—here, self-determination through transgressive artistic praxis—not as the contemporary subject’s damnation to cyclical patterns of despair but as a challenge to conceive of the good life anew. Working humorously through its hapless protagonist Niels’ repeated attempts to escape the seemingly inevitable for-profit co-option of his sincere artistic efforts, the novel serves to unveil the persistence of blind spots in this regime of totalizing exploitation. What results is an account of the double-edged logic of capitalist productivity’s ostensible totalization of labor-time. Capitalism, Niels unwittingly discovers, is a logic of production so overwhelming that it continuously drives subjects towards the discovery of new alterities that, for a brief time at least, allow subjects once again to slip between the cracks. The third chapter explores a similar phenomenon of halting resistance to the conditions of the capitalist present through the lens of futurity. Here, I push back against Mark Fisher’s theory of the dominance of “Capitalist Realism” in the contemporary aesthetic imagination, identifying and developing the notion of “subtle futurity”—the modest, yet resolute rephrasing of future possibility beyond the “way things are” of the present—in Leif Randt’s Schimmernder Dunst über CobyCounty (2011) In this light, I argue, Randt’s gestures towards a different future, however halting, mark a significant effort to imagine a benevolent form of future possibility within the context of an era often suspected to have been exhausted of its utopian sentiment. The final two chapters turn to past-minded works that more forcefully repudiate notions of the present as static or closed off from the movement of history. Chapter Four considers W.G. Sebald’s 1995 novel, Die Ringe des Saturn, and The Caretaker’s 2012 album, Patience (After Sebald), developing an account of the chronotopic means by which these works revisit materials of the past within the present. Chronotopic motifs of paraphrase—techniques of sampling in The Caretaker and narrative polyphony in Sebald—come together within macro-level chronotopic frameworks of peripatetic movement—looping repetition in The Caretaker and the retracing of bygone journeys in Sebald—to testify to the unanswered questions and unfinished work of history over and against notions of the present as a time where the past has been relegated to mere museum content or nostalgia for bygone ways of living. Where Chapter Four speaks primarily to the formal mechanisms by which the present rediscovers the past, Chapter Five examines two specific chronotopic innovations for thematically engaging constellations of past-present inter-temporality. Both Sharon Dodua Otoo’s 2021 novel, Adas Raum, and Christian Petzold’s 2018 film, Transit, develop chronotopes wherein past and present are intermingled in increasingly inseparable ways. Adas Raum, I demonstrate, is organized spatiotemporally as a nexus of coiled loops—pasts and presents intertwine, heaven and earth are tangled together, and the fates of human beings and even non-human objects follow spatial and temporal trajectories that weave in and out of conventional linear understandings of space and time. In similar fashion, past and present become inseparable in Petzold’s film, an adaptation of the Anna Seghers’ 1944 novel of the same name, through thematic and formal approaches of blurring that blend the plight of refugees of Seghers’ era with those of Petzold’s present day. History, then, appears remarkably robust in these texts, unfolding accounts of how human beings living through their present might take guidance from the generations that preceded them in the struggle for a better world.

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...

Darstellungen der Planeten und ihrer Kinder gehörten zu den ersten paganen Bildern, die im Spätmittelalter produziert und rezipiert wurden. Während der rund 200 Jahre ihres hauptsächlichen Auftretens, bis zum Ende des 16. Jahrhunderts, erreichten sie eine enorme Popularität. Im Weltbild des Mittelalters und der frühen Neuzeit war jeder Mensch von dem Gestirn geprägt, unter dessen Einfluss er geboren wurde. Dieser Planet bestimmte, wie man körperlich und charakterlich beschaffen war, welchen Beruf man ausübte und welche gesellschaftliche Stellung man erwarten durfte. Der Geburtsmoment sorgte für eine lebenslange, familiäre Verbindung zum Gestirn, man wurde quasi zu dessen Kind. Die Macht der Sterne zeichnet die Entwicklung von der ersten Erwähnung der Planetenkinder in Schriftquellen, über die Herausbildung eines relativ stabilen ikonografischen Kanons in verschiedenen Medien, funktionsgebundene Variationen bis zum Aufgehen in anderen Bildgattungen nach. Die zumeist siebenteiligen Zyklen stellen sich als Teil eines weit ausgebauten Beziehungsgefüges und Verweissystems dar, in dem sich das jeweilige gesellschaftliche Bild der Zeit spiegelt. Die Darstellungen dokumentieren zudem zentrale Entwicklungen des individuellen Denkens bis zum Ende des 16. Jahrhunderts. Sie zeigen, wie das jeweils aktuelle kosmologische Verständnis und Wissen einem breiten Publikum durch Bilder vermittelt werden konnte, wie dies mit dem religiösen Leben vereinbar war oder sich im Alltag niederschlug. Planetenkinder-Darstellungen hatten im Verlauf ihrer Geschichte vielfältige Funktionen. In ihnen manifestierte sich die Vorstellung einer Einheit der Dinge in zahlreichen Analogien. Gezielt eingesetzt wurden die Bilder zur Markierung sozialer Aufstiege, politischer Interessen und der Reklamation von Machtansprüchen sowie der Repräsentation von Einfluss bzw. Verherrlichung von Auftraggebern. Die Bilder zeigen philosophische Diskurse auf, verweisen auf konkrete historische Ereignisse und bewerten diese. / Representations of the planets and their children were among the first pagan images to be produced and adopted in the late Middle Ages. During the circa 200 years in which they mainly appeared, up until the end of the sixteenth century, they became enormously popular. In the worldview of the Middle Ages and early modern era, every person was believed to be influenced by the celestial body under whose influence they were born. This planet determined one’s physical appearance and character, one’s profession, and the social standing one could expect. The moment of birth ensured the continuation of a life-long, familiar connection to this celestial body, and a person was effectively considered its “child”. Die Macht der Sterne traces these developments from the first written references to the children of the planets, through to the emergence of a relatively stable iconographical canon in various media, variations in terms of function, as well as their appearance in other pictorial genres. These cycles, usually consisting of seven parts, presented themselves as part of a highly elaborate relational structure and system of references which reflected the current social worldview. The images also document key developments in individual thought up until the end of the sixteenth century. They show how the prevailing understanding of the cosmos and knowledge could be communicated to a wide audience by means of imagery, how this was reconciled with religious life, and how it was reflected in everyday life. Over the course of their history, images of the children of the planets served a variety of functions. By means of a number of analogies they illustrated the notion of the unity of all things. These images were also consciously employed to underscore social advancement, political interests, and the reassertion of claims to power as well as representations of influence or the glorification of patrons. These depictions also highlight philosophical discourses and refer to concrete historical events while offering evaluations of these phenomena.

L’un des objectifs de cette thèse est d’interpréter les observations des principaux hydrocarbures(C2H2 et C2H6) effectuées par Cassini (NASA/ESA) sur Jupiter et Saturne. Les modèles photochimiques à une dimension sont insuffisants pour interpréter ces observations spatialement résolues. J’ai développé le premier modèle photochimique saisonnier à deux dimensions (altitude-latitude) des planètes géantes qui calcule leur composition chimique.En l’absence de transport méridional, la composition chimique de Saturne suit les variations d’ensoleillement. Les abondances de C2H2 et C2H6 mesurées par Cassini (Guerletet al., 2009) sont reproduites jusqu’aux latitudes moyennes, à des pressions supérieures à0,1mbar. Les écarts notés dans l’hémisphère sud suggèrent la présence de dynamique ou d’une chimie entre les ions et les espèces neutres. J’ai couplé, pour la première fois, mon modèle photochimique avec le modèle radiatif de Greathouse et al. (2008). Nous prédisons un décalage du pic saisonnier de température, par rapport aux précédents modèles, d’une demi-saison à haute altitude et aux hautes latitudes.Jupiter présente de faibles variations saisonnières de composition chimique, uniquement contrôlées par son excentricité. Les distributions méridionales observées de C2H2 etC2H6 présentent des tendances opposées (Nixon et al., 2010). Mon modèle est en accord avec les observations de C2H6 lorsque j’invoque une combinaison de diffusion méridionale et de circulation stratosphérique, tout en provoquant un plus grand désaccord avec les observations de C2H2. La chimie ionique pourrait principalement affecter C2H2 et jouer un rôle important dans l’atmosphère de Jupiter. / One of the goals of this thesis is to interpret the observations of the main hydrocarbons(C2H2 and C2H6) from Cassini (NASA/ESA) on Jupiter and Saturn. The one-dimensional photochemical models are insufficient to explain these spatially resolved observations. I have developed the first two-dimensional (altitude-latitude) seasonal photochemical model for the giant planets, which predicts their chemical composition.Without meridional transport, Saturn’s chemical composition follows the insolation variations. The C2H2 and C2H6 abundances measured by Cassini (Guerlet et al., 2009)are reproduced from the equator up to mid-latitudes, at pressures higher than 0.1mbar.At higher latitudes, the disagreements suggest either a stratospheric circulation cell orthe signature of ion-neutral chemistry. For the first time, I have coupled our seasonal photochemical model with the seasonal radiative model of Greathouse et al. (2008). I predict that the seasonal temperature peak is shifted half a season earlier, with respect to previous models, at high latitudes in the higher stratosphere.Jupiter shows weak seasonal variations of chemical composition, only controlled by its orbital eccentricity. The observed meridional distributions of C2H2 and C2H6 show opposition trends (Nixon et al., 2010). C2H6 observed distribution is reproduced when Isuppose a combination of meridional diffusion and stratospheric circulation, while causingat the same time a stronger agreement with the C2H2 observations. Accounting for theion-neutral chemistry might preferentially affect C2H2 and potentially play a key role on hydrocarbon abundances in Jupiter’s stratosphere.