The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.

In 2019, the Utah Department of Transportation (UDOT) funded a research study evaluating the performance measures of UDOT's expanded Incident Management Team (IMT) program. The number of IMTs patrolling Utah roadways increased from 13 to 25 between 2018 and 2020. Crash data were collected from the Utah Highway Patrol's Computer Aided Dispatch database and from the UDOT TransSuite database to compare IMT performance measures between the two years and to evaluate the benefits of the expanded IMT program. However, these data were compromised due to the effects of the COVID-19 pandemic. This study collected data for 2022 using the same methodology as the Phase II study to compare IMT performance measures in 2022 with those of 2018 after traffic volumes had returned to a similar level as those of pre-pandemic levels. There were 283 and 307 incidents for the years of 2018 and 2022, respectively, that were analyzed for IMT performance measures which include response time, roadway clearance time, and incident clearance time. There were 172 and 236 incidents for the years of 2018 and 2022, respectively, that were analyzed for user impacts which were affected volume, excess travel time, and excess user costs. Results of the statistical analyses conducted on the 2018 and 2022 datasets show that IMTs can respond more quickly to incidents in a larger coverage area with significantly reduced user impacts. The expanded IMT program is also able to respond to more incidents, including those of high severity, while significantly decreasing congestion.

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Any situation that causes traffic to stop or slow down creates cost for society, both in terms of lost time for the road users and increased CO2 emissions. Trafik Stockholm, a traffic management centre for Stockholm collectively run by STA, Stockholm city and Nacka municipality therefore have the responsibility to facilitate the removal of such situations. One of the means by which they do that is by sending out road assistance vehicles (RAVs) to help clearing these situations. In order to do so effectively there is a need to know the effect of emergency lights on the time it takes for the RAV to reach its destination. This thesis thus examines how the emergency lights affect the speed at which the RAVs can travel by comparing the actual speed at which the RAVs have travelled using emergency lights to the mean speed of traffic on the same highway at the same time. It is concluded that there might be a significant effect, but further studies are necessary to prove this statistically.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.

Les gisements uranifères nigériens sont localisés dans les formations carbonifères et jurassiques du bassin de Tim Mersoï. AREVA est actionnaire de 3 sites miniers de cette région: la SOMAÏR et la COMINAK dans le district d'Arlit, en exploitation depuis 50ans, et IMOURAREN, 80km plus au Sud, dont l'exploitation est programmée pour 2015. La minéralisation du gisement d'Imouraren est comprise dans la formation fluviatile du Tchirézrine 2 (Jurassique), formée de chenaux et de plaines d'inondation. Les faciès de remplissage de chenaux vont des grès grossiers aux grès très fins (cortège détritique : quartz et feldspaths), tandis que les faciès de débordement sont constitués d'analcimolites. La minéralogie secondaire est acquise lors de 2 évènements : 1- la diagenèse, avec formation de minéraux argileux, d'analcime, de quartz et d'albite secondaires, et 2- un épisode de circulations de fluides, qui induit une altération des minéraux détritiques et diagénétiques, la formation de nouvelles phases et le dépôt de l'uranium. Cette altération dessine une zonation minéralogique à l'échelle du gisement.L'hétérogénéité du Tchirézrine 2, tant au niveau des faciès que de la minéralogie, se perçoit lors du traitement du minerai, puisqu'il réagit différemment selon sa provenance, avec parfois des problèmes de récupération de l'U. Des essais de traitement de minerais, ont montré que analcimes et chlorites étaient les deux pénalisants, pour 3 raisons : 1- les piégeages des phases U au sein des analcimes, 2- la dissolution de ces 2 minéraux a tendance à faire sortir des conditions de solubilisation de l'U (pH et Eh) et à former de nombreux sulfates, 3- problèmes de percolation. Une méthode de détection des minerais riches en analcimes, basée sur la spectroscopie infrarouge, a été développée afin d'optimiser les mélanges de minerais et ainsi de réduire les effets néfastes des pénalisants lors du traitement. / Nigerian uraniferous deposits are located in carboniferous and jurassic formations of Tim Mersoï basin. AREVA is shareholder of 3 mine sites in this area: SOMAÏR and COMINAK, both in exploitation since 1960’s and IMOURAREN, 80km further South, whose exploitation is planned for 2015. Mineralization of Imouraren deposit is included in the fluvial formation of Tchirezrine 2 (Jurassic), composed of channels and flood plains. Facies of channel infillings range from coarse sandstones to siltstones, while overflow facies are composed of analcimolites.Secondary mineralogy was acquired during 2 stages: 1- diagenesis, with formation of clay minerals, analcime, secondary quartz and albites, and 2- stage of fluids circulations, which induced alteration of detrital and diagenetic minerals, formation of new phases and uranium deposition. A mineralogical zoning, at the scale of deposit resulted from this alteration. The heterogeneity of Tchirezrine 2, at the level of both facies and mineralogy, is also evidenced during ore treatment, as ore reacts differently depending on its source, with sometimes problems of U recovery. Ore treatment tests showed that analcimes and chlorites were both penalizing minerals, because of 1- the sequestration of U-bearing minerals into analcimes, 2- their dissolution which trends to move away from U solubilization conditions (pH and Eh) and to form numerous sulfates, and 3- problems of percolation. A detection method of analcime-rich ores, based on infrared spectroscopy, was developed in order to optimize ore blending and so to reduce negative effects during ore treatment process.

Cette thèse interroge le dialogue théorique et pratique entre les sens et le design. En éclairant les échanges qui s’instaurent entre les sciences contemporaines de la perception et les nouvelles approches sensorielles du design, elle laisse apparaître un paradigme inédit de la création et de la cognition. Elle montre qu’un modèle de design sensible émerge sous l’impulsion de nouveaux modèles cognitivistes de la perception, qui vient transformer les domaines de la création. Les arts plastiques investissent les sens corporels, amplifiés par les technologies ; l’architecture remet en cause la tradition visiocentrée de l’espace, et s’ouvre une conception spatiale de type atmosphérique. À la frontière de ces mouvements, surgit un paradigme du design focalisé sur la relation tangible et multisensorielle entre l’homme et le monde de l’artificiel. Grâce à la réhabilitation des sens pragmatiques, les théories antidualistes de la perception, en conjonction avec les sciences cognitives et les technologies numériques, inspirent la conception d’artefacts orientés vers l’engagement corporel et les relations matérielles. L’obsolescence du modèle des cinq sens permet de revisiter scientifiquement des phénomènes comme les synesthésies, la plasticité perceptive et les correspondances sensorielles. Le dépassement de l’idée de sens entendus comme des organes récepteurs, conduit à considérer les aspects immatériels de la perception, tels que l’expressivité et l’intentionnalité attribuées aux choses. Dans ce contexte, cette thèse explore la manière dont la sensorialité redevient un sujet de recherche et de création. Entre philosophie, psychologie expérimentale et histoire de l’art et du design, elle interroge le modèle rationaliste du design et montre que l’émergence de ce nouveau paradigme est motivée par l’exigence de s’affranchir du modèle industriel guidé par la relation visuelle et fonctionnelle de la forme et des usages. Suivant un cheminement non nécessairement linéaire, la recherche se concentre sur les moments clés et les figures majeures du dialogue entre design moderne et théories des sens, et montre que ce dernier, engagé depuis la Renaissance, n’a cessé d’alimenter les relations entre perception et arts du disegno. / This thesis examines the theoretical and practical dialogue between design and the senses. Shedding light on the exchanges taking place between the contemporary sciences of perception and the new sensorial approaches of design, it reveals a new paradigm of creation and cognition. The thesis puts forward the emergence of a sensitive design model promoted by new cognitivist models of perception, transforming the domains of creation. Magnified by technology, contemporary arts are permeating the bodily senses; while architecture challenges the visually centered tradition of space, and an atmospheric conception of space opens up.Emerging at the marches of these movements is a paradigm of design focused on the tangible, multi-sensorial relationship between the human world and the artificial world. Anti-dualist theories of senses, coupled with cognitive sciences and digital technologies, conceive artifacts that are inclined towards material relationship and involvement of the body, made possible by the rehabilitation of pragmatic senses. Obsolescence of the five senses model allows the scientific rediscovery of several phenomena such as synesthesia, perceptive plasticity and sensorial interactions. Surpassing the notion of senses as mere receptive functions, leads us to examine the immaterial aspects of perception, such as expressiveness and intentionality attributed to things.In this context, this thesis explores how sensoriality becomes once again a subject for research and creation. Overlapping philosophy, experimental psychology, and the history of art and design, it questions the rationalist model of design; it also shows how the need for freedom from the industrial model, as lead by the visual and functional relationship between form and usage, brings about the emergence of a new paradigm.Following a not essentially linear path, the research focuses on key moments, along with the major features of a dialogue between modern design and theories of the senses ; this dialogue, initiated since the Renaissance, never stopped nourishing the relationships between perception and arts of the disegno.

Cette thèse vise à étudier l'exploitation du rayonnement solaire grâce à un nouveau concept de mur capteur passif. Dans ce contexte, le comportement thermique d’un mur solaire semi-transparent a été étudié. Le mur fournit un éclairage naturel et est composé d’une couche d’aérogel de silice assurant une isolation thermique et acoustique, et d’un MCP. Ce dernier est contenu dans des briques de verre assurant l’absorption, le stockage et la restitution de chaleur. Ce mur a été caractérisé expérimentalement au centre PERSEE à Sophia. Il a été remarqué que la performance thermique du mur est élevée en hiver, tandis qu’une surchauffe estivale a été rencontrée. Un modèle numérique simplifié a été développé pour modéliser la convection naturelle et le rayonnement pendant la fusion du MCP. Ce modèle est validé à l’aide d’un modèle CFD, et des résultats de Benchmark. Pour optimiser la performance du mur en été, un modèle numérique du transfert de chaleur à travers le mur a été développé sous MATLAB. Ce modèle a été couplé à TRNSYS afin d’évaluer la performance thermique de l'ensemble du bâtiment. Le modèle couplé a été validé expérimentalement. Le comportement thermique du mur est testé dans des différents climats, et des solutions passives sont proposées pour assurer le confort thermique. Enfin, ce modèle a permis d'étudier le comportement thermique annuel d’un bâtiment intégrant un mur MCP- aérogel dans son enveloppe et une étude économique a été réalisée. Ces études ont confirmé l'intérêt du mur vis-à-vis de l'amélioration des performances énergétiques du bâtiment. La faisabilité économique de l'application du mur dépend du climat, du coût d’énergie, et du coût d'investissement. / This thesis aims to study the exploitation of solar radiation thanks to a new concept of passive sensor wall. In this context, the thermal behavior of a novel semi-transparent solar wall has been studied. The wall is composed of glazing, silica aerogel (TIM) and glass bricks filled with fatty acids (PCM). This wall provides storage and restitution of heat, thermal-acoustic insulation and daylighting. The thermal performance of the TIM-PCM wall is tested in a full-sized test cell located in Sophia, PERSEE center. In winter, particularly in sunny cold days, the PCM absorbs solar radiation, melts, and then releases the stored heat to the building at night. During summer, overheating is encountered, the PCM remains in its liquid state and is unable to release the stored heat. A simplified model for PCM melting in presence of natural convection and radiation is developed and validated using a CFD model, and benchmark solutions. Then, a numerical model describing the heat transfer mechanisms through the wall is developed. This model is linked to TRNSYS to assess the thermal performance of the whole building. The MATLAB-TRNSYS model is then validated experimentally. The thermal behavior of the wall is tested under different climates, and passive solutions are proposed to ensure thermal comfort in summer. Finally, the validated model is used to study the annual thermal behavior of a building integrating TIM-PCM wall and an economic study is conducted. These studies confirm the interest of the wall vis-à-vis the improvement of energy performance of the building. The economic feasibility of applying the TIM-PCM wall depends mainly on climate, energy costs, and investment cost.

Approximately one third of the genes for the completely sequenced bacterial genomes have an unknown, uncertain, or incorrect functional annotation. Approximately 11,000 putative proteins identified from the fully-sequenced microbial genomes are members of the catalytically diverse Amidohydrolase Superfamily. Members of the Amidohydrolase Superfamily separate into 24 Clusters of Orthologous Groups (cogs). Cog3653 includes proteins annotated as N-acyl-D-amino acid deacetylases (DAAs), and proteins within cog2355 are homologues to the human renal dipeptidase. The substrate profiles of three DAAs (Bb3285, Gox1177 and Sco4986) and six microbial dipeptidase (Sco3058, Gox2272, Cc2746, LmoDP, Rsp0802 and Bh2271) were examined with N-acyl-L-, N-acyl-D-, L-Xaa-L-Xaa, L-Xaa-D-Xaa and D-Xaa-L-Xaa substrate libraries. The rates of hydrolysis of the library components were determined by separating the amino acids by HPLC and quantitating the products. Gox1177 and Sco4986 hydrolyzed several N-acyl-D-amino acids, especially those where the amino acid was a hydrophobic residue. Gox1177 hydrolyzed L-Xaa-D-Xaa and N-acetyl-D-amino acids with similar catalytic efficiencies (~10⁴ M⁻¹s⁻¹). The best substrates identified for Gox1177 and Sco4986 were N-acetyl-D-Trp and N-acetyl-D-Phe, respectively. Conversely, Bb3285 hydrolyzed N-acyl-D-Glu substrates (kcat/Km ⁹́⁸ 5 x 10⁶M⁻¹s⁻¹) and, to a lesser extent, L-Xaa-D-Glu dipeptides. The structure of a DAA from A. faecalis did not help explain the substrate specificity of Bb3285. N-methylphosphonate derivatives of D-amino acids were inhibitors of the DAAs examined. The structure of Bb3285 was solved in complex with the N-methylphosphonate derivative of D-Glu or acetate/formate. The specificity of Bb3285 was due to an arginine located on a loop which varied in conformation from the A. faecalis enzyme. In a similar manner, six microbial renal dipeptidase-like proteins were screened with 55 dipeptide libraries. These enzymes hydrolyzed many dipeptides but favored L-D dipeptides. Respectable substrates were identified for proteins Bh2271 (L-Leu-D-Ala, kcat/Km = 7.4 x 10⁴ M⁻¹s⁻¹), Sco3058 (L-Arg-D-Asp, kcat/Km = 7.6 x 10⁵ M⁻¹s⁻¹), Gox2272 (L-Asn-D-Glu, kcat/Km = 4.7 x 10⁵ M⁻¹s⁻¹), Cc2746 (L-Met-D-Leu, kcat/Km = 4.6 x 10⁵ M⁻¹s⁻¹), LmoDP (L-Leu-D-Ala, kcat/Km = 1.1 x 10⁵ M⁻¹s⁻¹), Rsp0802 (L-Met-D-Leu, kcat/Km = 1.1 x 10⁵ M⁻¹s⁻¹). Phosphinate mimics of dipeptides were inhibitors of the dipeptidases. The structures of Sco3058, LmoDP and Rsp0802 were solved in complex with the pseudodipeptide mimics of L-Ala-D-Asp, L-Leu-D-Ala and L-Ala-D-Ala, respectively. The structures were used to assist in the identification of the structural determinants of substrate specificity.

In this thesis, the concept of style transfer for visual storytelling is introduced. Style transfer for visual storytelling is the process of identifying a definitive style of a source, such as an artist or culture, and applying the features of that style to a target, such as a character which has a different style. As a proof of concept, the style of the American film director Tim Burton is transferred to a character from Hindu mythology, Yamah. The style transfer is done based on the concept of 'Pattern Language' introduced by Christopher Alexander et al., in his book, 'A Pattern Language'. A set of patterns is developed based on the source and target. The target is then designed based on the patterns. The design is then visualized in a suitable medium.