Rozprawy doktorskie na temat „Craig and Gordon models”

O Über-marionette é a proposta mais célebre e polêmica de Edward Gordon Craig. Ela parte de uma premissa inicial que sentencia à morte o ator, identificado como um empecilho para o desenvolvimento do teatro. Ao mesmo tempo se desenvolve positivamente em uma pedagogia, ainda que velada, em sua obra. Por isso decidimos denominar esta tese de \"Pedagogia da morte do ator\", compreendendo o paradoxo contido nesta expressão como uma elaboração característica do sistema intelectual de Gordon Craig. Ao criar uma representação imagética para uma crítica ao teatro de seu tempo, Craig formulava, simultaneamente, uma proposta, em forma alegórica, de um revolucionário projeto para o redimensionamento da arte teatral, como um todo. E apresentava uma pedagogia ainda inovadora baseada na relação entre o ator e o material inerte. Muito do longevo potencial revolucionário do Über-marionette, é devido à utilização metódica de algumas matérias-primas: A primeira delas é uma crítica incisiva sobre o trabalho do ator e sobre a prática teatral de um modo geral. A segunda a linguagem do Teatro de bonecos, e sua natureza evocativa de ritualidades e dialéticas. A terceira por uma proposta de redimensionamento das práticas e estéticas teatrais, pleiteando o renascimento da arte do ator e o surgimento da figura do Encenador teatral. A provocação do Über-marionette foi o ponto inicial de um diálogo entre Gordon Craig e Ananda Coomaraswamy, historiador de arte indiana. Essa interface com o Oriente sempre esteve presente no pensamento de Craig e encontrou em Coomaraswamy um interlocutor importante que o desafiou sobre a criação do Über-marionette e sua abordagem sobre a arte teatral oriental. A reação precavida de Craig em relação a trocas entre tradições inicia as reflexões sobre o tema do teatro intercultural e aponta suas idiossincrasias. Apresentamos o parentesco entre o Über-marionette e o ícone das artes cênicas hindus, o deus Shiva Nataraja e com o livro que regula a prática cênica tradicional na Índia, o Natya Shastra. Tomamos como exemplo prático para tentar avaliar concretamente esse embate dialógico o Kathakali, estilo de teatro clássico masculino do sul da índia. A partir daí, analisamos a tradição pedagógica indiana para a arte teatral (o sistema de gurus) que baseou a argumentação de Coomaraswamy para sua crítica à formação do Über-marionette. E avaliamos se o teatro Kathakali poderia configurar uma concretização da argumentação de Coomaraswamy. E se esta concretização responderia à demanda de Gordon Craig por um ator Über-marionette. Dentro dessa análise, observamos o processo de estilização e codificação formal proposta pelos teatros asiáticos e de marionetização de seus atores. Esse diálogo entre Gordon Craig e Coomaraswamy foi o prenúncio de uma complexa interface que até hoje se mostra recheada de idiossincrasias e de difícil emolduramento. Exemplificando a ciclicidade desta questão, resgatamos o embate entre Rustom Bharucha, crítico severo das tentativas de interculturalismo ocidental e Richard Schechner, um dos mentores das aproximações entre o teatro ocidental e as formas teatrais tradicionais do Oriente.
The Über - marionette is the most celebrated and controversial proposal of Edward Gordon Craig . It begins from an initial premise that sentenced the actor to death, identifying the actor as a hindrance to the development of the theater. At the same time develops positively into pedagogy, although hidden in his writings. We decided to call it \"Pedagogy of the death of the actor\", understanding the paradox contained in this expression as an intellectual characteristic of the Gordon Craig\'s system of thinking. By creating an imagistic representation for his critique to the theater of his time, Craig formulated simultaneously a proposal , in allegorical form , of a revolutionary design for the resizing of theater art as a whole. An innovative pedagogy based on the relationship between the actor and inert material. Much of the longevity of the Über-marionette\'s revolutionary potential is due to the methodical use of some raw materials: The first is an incisive critique of the work of the actor and the theater practice generally. The second one, the language of puppet theater, and its evocative nature of rituality and dialectical properties. The third one, a proposal for a complete reconstruction of the theatrical practice and aesthetics, claiming for a revival of the art of the actor and the emergence of the figure of Theatrical Stage Director. This interface with the East was always present in the thought of Craig and found in Coomaraswamy an important interlocutor who challenged him about his the Über-marionette and his approach on the eastern theater art. The cautious reaction from Craig regarding exchanges between traditions begins the investigations on the theme of intercultural theater and points out its idiosyncrasies. This thesis points out the relationship between the Über-marionette and the icon of the hindu performing arts, the god Shiva Nataraja, and the book that rules the practice of traditional scenic in India, the Natya Shastra. We take as a practical example to try to concretely evaluate this dialogical encounter, the Kathakali theater classic male style from southern India. Then, we analyze the pedagogical tradition for Indian theatrical art (Guru system) which supported Coomaraswamy\'s argument founding his critical to the creation f the Über - marionette. And we evaluate if the Kathakali theater could be seen as an embodiment of Coomaraswamy\'s argument. And if this embodiment answers Craig\'s demand for an actor Über - marionette. Within this analysis, we observe the asian theatre\'s process of formal stylization and codification of its scene and acting. This dialogue between Gordon Craig and Coomaraswamy was the precursor of a complex interface that even today presents its idiosyncrasies and difficult framing . Exemplifying the cyclicality of this issue, we redeemed the clash between Rustom Bharucha, harsh critic of Western attempts to Interculturalism and Richard Schechner , one of the mentors of the approaches between western theater and the traditional theater forms of the East.

The Mask (1908-1929, Florence, Italie, 15 volumes) : le nom seul de ce journal exclusivement dédié à l’Art du Théâtre officia en son temps comme un « mot de passe » auprès des défenseurs de la scène moderne en Europe. Cette thèse, la première en France à être consacrée à cette revue, est une recherche historique enrichie de nombreux documents inédits du fonds Craig du Département des Arts du Spectacle de la BnF. The Mask fut la performance permanente de Craig : tout en même temps le lieu de la théorie, d’une Histoire du Théâtre et un lieu d’expérimentation visuel. Son habileté fut de doter précisément cette revue des qualités d’un laboratoire lui permettant de créer et d’exprimer ses idées sur l’Art du Théâtre. L’aspect physique et concret du périodique lui fournissait une permanence qu’une représentation théâtrale ne pourrait pas lui donner. Dans ce sens ce périodique pourrait être ce substitut du théâtre qu’il ne posséda jamais au sein de la réalité, et le lieu préservé d’un héritage, en vue du théâtre du futur
The Mask (1908-1929, Florence, Italy, 15 volumes) : in its time, the very name of this newspaper exclusively dedicated to the theatrical Art played the part of a « passeword » among promoters of modern theatre in Europe. This doctoral thesis, the first to be consecrate to this review in France, is an historical research enriched by a lot of documents from the Craig archives of the Departement des Arts du Spectacle, BnF. By the study of this review, we search to understand better Craig’s personality and his conception of the artist. The Mask was Craig’s permanent performance : at once a place for theory, for a history of drama and a place of visual experimentation. He had the talent to endow this review with the very characteristics of a laboratory allowing him to create and express his ideas on Theatrical Art. The actual and physical aspect of the periodical provided a permanence that theatrical performances did not possess. In this way this periodical could be seen as a substitute for the theatre house he never actually owned and a repository for a heritage to be saved in order to create the theatre of the future

Not only edited, but also written almost exclusively by Edward Gordon Craig, and spreading over a period of 21 years (1908-1929), The Mask appears as one of the first journals to be specifically and passionately devoted to the 'Art of the Theatre' (as the concept is understood in the late 19th century in its total and arguably totalitarian dimensions); as such it is worthy of a closely focussed study with regard to its author, his strategies and his ideological background. The journal springs from the tradition of the Arts and Crafts movement, which incorporates other similar ventures of periodicals promoting a particular aesthetic stance. Additionally it slowly moves Craigian thought and sensibility into a Modernist context. The thesis argues that, more than Craig's books, The Mask provides a plausible interpretation of those aspects of his theorising that are problematic and apparently contradictory. It offers valuable evidence of his ideological/theoretical background which enables a fuller reading of his work as a whole. His Orientalism, his fascination with puppets, with the Commedia dell'Arte and with masks are all explicit in the periodicals.

Il Convegno Volta del 1934 fu un evento volto a celebrare il teatro drammatico italiano grazie alla presenza dei più grandi intellettuali del tempo, i quali vi presero parte accendendo un importante dibattito relativo alla crisi che esso stava subendo e alle possibili innovazioni. Questo evento fece molto clamore all’epoca, fu organizzato dalla Reale Accademia d’Italia, la quale ricopriva un ruolo fondamentale per la cultura italiana. Questo elaborato ha l’intento di analizzare le dinamiche tra potere politico e arte, più in particolare le modalità con cui gli intellettuali dell’epoca, tentati da successo, fama, protezione politica e un ritorno economico, abbiano cercato la mediazione con il potere politico a discapito della ricerca per un rinnovamento della loro arte. Una figura interessante in questo panorama culturale è sicuramente Edward Gordon Craig, un invitato inglese all’evento, molto atteso, che tenta di far luce sulle scelte attuate dal regime fascista di negare il finanziamento ai teatri dialettali italiani. Attraverso l’analisi delle riflessioni di Gordon Craig, che nascono dalla sua conoscenza del teatro italiano e dalla sua capacità innovativa e riformatrice, si vuole creare un disegno generale che rifletta le difficoltà e gli sviluppi del teatro negli anni Trenta.

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France, examine les relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig et ses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues: celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire.Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil. Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’œuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, surla transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction de la connaissance est plus complexe et se révèle par le biais de l’action, et, donc, par celui du corps
This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil and Université Paris Nanterre, France, investigates the relations between body and object from a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For this purpose, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the scenic space are used. The study departs from the verification of the deficit of artistic references on part of the future pedagogues, as well as the invisibility of theater of animated forms in this context, often seen in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The theoretical basis is inspired by the Foucauldian work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s presence experience (2010). It is understood that what the theater of animated forms has as formative is its possibility of fostering shifts: from the conception of training based on content modeling, transmission and repetition to training-experience; from text-centered training to the lack of definition of the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogic proposal that opposes to formulas and considers that the process of knowledge construction is more complex and happens through action, therefore through the body
Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em cursos de gradução em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de graduação em Pedagogia de oito universidades do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados. A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France,examineles relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig etses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues : celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire. Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’oeuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, sur la transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction dela connaissance est plus complexe et se révèlepar le biais de l’action, et, donc, par celui du corps.
Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionnette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de gradução em Pedagogia do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo.
This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil, and Université Paris Nanterre, France, investigates the relations between body and object grounded on a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For such, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the performing space are used. The study starts from the verification of the deficit of artistic references on part of future pedagogues, as well as the invisibility of theater of animated within this context, which is often considered in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The question of this dissertation is: how to think the possibilities for the body in teacher training in Pedagogy, based on Edward Gordon Craig’s Übermarionnette proposal? For this purpose, eleven groups of students from undergraduate Pedagogy courses from Rio Grande do Sul state, Brazil took part in theater of animated forms workshops. These workshops were registered in writing and recorded in video, having been produced dossiers which were later examined The theoretical basis is inspired by Foucault’s work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s culture of presence (2010). It is understood that what the theater of animated forms has as formativeis its possibility to foster shifts: from the conception of a training process based on content modeling, transmission and repetition of contents to training-experience; from text-centered training to the imprecisionof the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogical proposal that opposes to the formulas and considers that the process of knowledge construction is more complex and happens by means of action, therefore by means of the body.

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In this thesis we study the asymptotic properties for the solution of the Cauchy problem for the Klein-Gordon equation with non-effective time-dependent potential. The main goal was define a suitable energy related to the Cauchy problem and derive decay estimates for such energy. Strichartz’ estimates and results of scattering and modified scattering was established. The C m theory and the stabilization condition was applied to treat the case where the coefficient of the potential term has very fast oscillations. Moreover, we consider a semi-linear wave model scale-invariant time- dependent with mass and dissipation, in this step we used linear estimates related with the semi-linear model to prove global existence (in time) of energy solutions for small data and we show a blow-up result for a suitable choice of the coefficients.
Nesta tese estudamos as propriedades assintóticas para a solução do problema de Cauchy para a equação de Klein-Gordon com potencial não efetivo dependente do tempo. O principal objetivo foi definir uma energia adequada relacionada ao problema de Cauchy e derivar estimativas para tal energia. Estimativas de Strichartz e resultados de scatering e scatering modificados também foram estabelecidos. A teoria C m e a condição de estabilização foram aplicados para tratar o caso em que o coeficiente da massa oscila muito rápido. Além disso, consideramos um mod- elo de onda semi-linear scale-invariante com massa e dissipação dependentes do tempo, nesta etapa usamos as estimativas lineares de tal modelo para provar ex- istência global (no tempo) de solução de energia para dados iniciais suficientemente pequenos e demonstramos um resultado de blow-up para uma escolha adequada dos coeficientes.

Viele Problemstellungen der Naturwissenschaften führen zur Betrachtung von nichtlinearen Wellengleichungen. Dabei ist von großem Interesse, ob zu vorgegebenen kleinen Daten Lösungen eindeutig existieren und ob diese stetig von den Daten abhängen. Hilfsmittel für diese Probleme sind Aussagen über lineare Wellengleichungen. In der vorliegenden Arbeit werden lineare Klein-Gordon Gleichungen, also Wellengleichungen mit Potentialterm, mit zeitabhängiger Masse bzgl. des Verhaltens ihrer Lösungen untersucht. Von speziellem Interesse sind Resultate mit Bezug auf verallgemeinerte Energieerhaltung und sogenannte Lp – Lq decay-Abschätzungen. Aus der Arbeit geht hervor, dass man eine Klassifizierung für Gleichungen mit fallendem Masseterm finden kann. Für Gleichungen vom Wellentyp ist der Einfluss des Potentialterms gering und die Lösungen verhalten sich wie Lösungen der Wellengleichung. Dem gegenüber stehen Gleichungen vom Klein-Gordon-Typ mit erkennbarem Einfluss des Masseterms. Ausgangspunkt für die Klassifizierung ist das kritische Verhalten der Lösungen einer skaleninvarianten Gleichung mit speziellem Masseterm.

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Neste trabalho fizemos um levantamento das diferentes versões discretas e contínuas dos argumentos de Gordon, utilizados no estudo espectral de operadores de Schrödinger unidimensionais. Estudamos como aproximações periódicas do potencial (caso contínuo) e ocorrências de estruturas repetitivas do potencial (caso discreto) permitem excluir o espectro pontual de tais operadores. No caso discreto, as aplicações dos argumentos de Gordon fornecem resultados genéricos, q.t.p. (quase toda parte) e uniformes sobre a ausência de espectro pontual para modelos de Schrödinger com potenciais gerados por substituições primitivas e rotações na circunferência. Parte dos resultados obtidos na demonstração desses argumentos podem ser usados para mostrar que o espectro dos operadores tem medida de Lebesgue zero. Consequentemente, com a ocorrência simultânea das propriedades ausência de espectro pontual e espectro com medida zero , obtemos operadores de Schrödinger com espectro puramente singular contínuo. No caso contí- nuo, as aplicações incluem operadores de Schrödinger gerados por potenciais de Gordon com frequências de Liouville, funções Hölder contínuas, funções escada e funções com singularidades locais
In this work review di erent versions of discrete and continuous Gordon's arguments, used in the spectral study of one-dimensional Schrödinger operators. We study periodic approximations of the potential (continuous case) and occurrences of repetitive structures of the potential (discrete case) that allow us to exclude the point spectrum of such operators. In the discrete case, the applications of Gordon's arguments supply generic results, almost sure and uniform on the absence of point spectrum for Schrödinger models with potentials generated by primitive substitutions and circle maps. Part of the results obtained in the demonstration of these arguments can be used to show that the spectrum of the operators has zero Lebesgue measure. Consequently, with the properties absence of point spectrum and spectrum with zero measure , we obtain Schrödinger operators with purely singular continuous spectrum. In the continuous case, the applications include Schrödinger operators generated by Gordon potentials with Liouville frequencies, Hölder continuous functions, step functions and functions with power-type singularities

Orientador: Roberto de Almeida Prado
Coorientador: Suetônio de Almeida Meira
Banca: Cesar Rogerio de Oliveira
Banca: José Roberto Nogueira
Resumo: Neste trabalho fizemos um levantamento das diferentes versões discretas e contínuas dos argumentos de Gordon, utilizados no estudo espectral de operadores de Schrödinger unidimensionais. Estudamos como aproximações periódicas do potencial (caso contínuo) e ocorrências de estruturas repetitivas do potencial (caso discreto) permitem excluir o espectro pontual de tais operadores. No caso discreto, as aplicações dos argumentos de Gordon fornecem resultados genéricos, q.t.p. (quase toda parte) e uniformes sobre a ausência de espectro pontual para modelos de Schrödinger com potenciais gerados por substituições primitivas e rotações na circunferência. Parte dos resultados obtidos na demonstração desses argumentos podem ser usados para mostrar que o espectro dos operadores tem medida de Lebesgue zero. Consequentemente, com a ocorrência simultânea das propriedades ausência de espectro pontual e espectro com medida zero , obtemos operadores de Schrödinger com espectro puramente singular contínuo. No caso contí- nuo, as aplicações incluem operadores de Schrödinger gerados por potenciais de Gordon com frequências de Liouville, funções Hölder contínuas, funções escada e funções com singularidades locais
Abstract: In this work review di erent versions of discrete and continuous Gordon's arguments, used in the spectral study of one-dimensional Schrödinger operators. We study periodic approximations of the potential (continuous case) and occurrences of repetitive structures of the potential (discrete case) that allow us to exclude the point spectrum of such operators. In the discrete case, the applications of Gordon's arguments supply generic results, almost sure and uniform on the absence of point spectrum for Schrödinger models with potentials generated by primitive substitutions and circle maps. Part of the results obtained in the demonstration of these arguments can be used to show that the spectrum of the operators has zero Lebesgue measure. Consequently, with the properties absence of point spectrum and spectrum with zero measure , we obtain Schrödinger operators with purely singular continuous spectrum. In the continuous case, the applications include Schrödinger operators generated by Gordon potentials with Liouville frequencies, Hölder continuous functions, step functions and functions with power-type singularities
Mestre

L’elaborato analizza la rappresentazione della tematica del doppio a teatro attraverso l’uso della luce e dei fenomeni ottici nei casi specifici delle scenografie di Edward Gordon Craig e Josef Svoboda. Dopo la descrizione dello sviluppo storico dell’illuminotecnica nel corso dell’età moderna si approda al XX secolo, analizzato attraverso personaggi chiave per l’evoluzione dell’uso della luce a teatro. La trattazione oltre ad offrire un excursus tecnico e storico sull'illuminotecnica, evidenzia le problematiche che dal Rinascimento hanno caratterizzato il dibattito sulla natura della rappresentazione teatrale e sui cambiamenti dei rapporti tra scena, attore e pubblico con il cambiare delle tecniche di illuminazione. La sconfinata tematica del doppio, viene introdotta attraverso precisi riferimenti a figure archetipiche, al fine di evidenziarne i caratteri peculiari tramandati sino all’epoca contemporanea e ritrovati nelle messe in scena analizzate. Particolare attenzione è stata rivolta alla tragedia di William Shakespeare, Amleto, la cui analisi è funzionale alla successiva trattazione monografica rivolta a Gordon Craig e Svoboda, entrambi impegnati con la messa in scena della tragedia. Di Craig sono state messe in evidenza le caratteristiche d’avanguardia e la sua percezione inedita della luce che gli offre la possibilità di progettare scenografie rivoluzionarie. Di Svoboda è stato necessario evidenziare il suo carattere di inventore e di grande esperto di illuminotecnica per procedere con l’analisi delle sue scenografie. Gli allestimenti di Craig e Svoboda per Amleto indagano il tema del doppio, per approdare a soluzioni scenografiche innovative. Le tematiche contenute nella tragedia sono profonde, interpretabili su più piani di lettura ed il tema del doppio è dominante. Nello spazio costruito di luci, colori e riflessi il doppio prende vita grazie alla luce e ai fenomeni ottici. Il percorso si conclude con il ritorno allo specchio, simbolo archetipico di duplicità, come espediente scenografico rafforzato negli effetti dallo sviluppo tecnologico e dall’evoluzione dell’illuminotecnica teatrale. Attraverso arditi giochi di luci si connette il mondo mitico di Narciso al mondo contemporaneo, abbandonando la mimesi e liberando le grandi potenzialità dell’evocazione.

In questa tesi ci si propone di analizzare le implicazioni fisiche della geometria dello spazio ambiente nel contesto dei condensati di Bose-Einstein (BEC) e le possibili applicazioni nell’ambito dei modelli analogici della cosmologia dei buchi neri. A tal fine si deriva la formulazione idrodinamica dell'equazione di Gross-Pitaevskii (GPE) nel caso di una generica varietà Riemanniana e si osserva la comparsa di una nuova forza, che dipende essenzialmente da due parametri: la geometria della varietà e le derivate prime del profilo di densità. Si studiano le condizioni stazionarie in relazione alla presenza di varietà a curvatura scalare negativa. Analizzando tali varietà si stabilisce una relazione esplicita tra le superfici a curvatura negativa e l'equazione di seno-Gordon, che risulta un'approssimazione della GPE nel caso di accoppiamento di fasi. Assumendo condizioni stazionarie, si ottiene un nuovo tipo di equazioni di Einstein e si è spinti a ricercare altri legami tra le equazioni che governano i condensati e la cosmologia. A tal fine si considerano i BEC relativistici, che vengono utilizzati nello studio del comportamento dell'universo primordiale e della sua espansione. Facendo uso delle conoscenze ottenute nel caso di varietà Riemanniane generiche, otteniamo nuove equazioni di Einstein nel caso multi-dimensionale. Successivamente, si considerano i modelli analogici utilizzati per lo studio della formazione di buchi neri e per il calcolo della radiazione di Hawking. Attraverso un processo di linearizzazione si nota come sia possibile far emergere una metrica acustica Lorentziana che governi il moto delle fluttuazioni della fase; a questo scopo si considera il caso di un vortice dritto che presenta un profilo di densità in cui le derivate prime assumono un valore massimo all’interno del tubo vorticoso e la geometria dello spazio ambiente diventa rilevante. In questa situazione si scopre che è effettivamente possibile far emergere una metrica Lorentziana, e si propongono alcune approssimazioni utili per la sua determinazione esplicita. Infine, vengono presentate alcune osservazioni conclusive su possibili direzioni di ricerca future, quali lo studio dell'evoluzione delle superfici isofase in casi relativistici e lo studio dei condensati sottoposti a torsione.
In this thesis we analyze the physical implications of the geometry of the ambient space in the context of Bose-Einstein condensates (BECs) and possible applications to the field of analogue models in the cosmology of black holes. To this end we derive the hydrodynamic formulation of the Gross-Pitaevskii equation (GPE) in the case of a generic Riemannian manifold. We observe the appearance of a new force, which essentially depends on two parameters: the geometry of the manifold and the first derivatives of the density profile. The stationary conditions are studied in relation to the presence of manifolds with negative scalar curvature. By analyzing these manifolds, an explicit relationship is established between the negatively curved surfaces and the sine-Gordon equation, which results in an approximation of the GPE in the presence of phase coupling. By assuming stationary conditions, we obtain a new type of Einstein field equations and we look for other possible connections between the equations governing condensates and cosmology. For this purpose, we consider relativistic BECs, that are used in the study of the early universe and its expansion, and we obtain Einstein equation in the multi-dimensional case. Then we consider the analogue models used for the study of the formation of black holes and for the calculation of Hawking radiation. Through a linearization process it is possible to derive a Lorentzian acoustic metric for the phase fluctuations; for this purpose, we consider the case of a straight vortex defect with a density profile where the first derivatives have maximum value inside the vortex tube and the geometry of the ambient space becomes relevant. In this situation it turns out that it is possible to determine a Lorentzian metric, and some useful approximations are proposed for its explicit computation. Finally, some concluding remarks are presented on possible future research directions, given by the study of the evolution of isophase surfaces in relativistic cases, and the study of condensates subject to twist.

Being Isadora is a story of possession. Isadora Duncan, the founder of modern dance, was an intensely creative, free-spirited woman. Her life experiences early last century were as fascinating and tragic as her achievements. In New York in 1985, Isadora's last surviving pupil and adopted daughter, ninety-year old Anna Duncan, is searching for a way to fulfill a long held promise. Isadora wished to control the way she was remembered and had made Anna promise that any remaining film of her dancing would be destroyed. But one film survives and Anna is running out of time to find it. A young Australian journalist, Tamsin Doyle, attends a dance class at the Isadora Duncan Studio and meets Anna, unknowingly becoming part of the quest. Initially the stories of Isadora and Tamsin run parallel, then as Tamsin gets to know Anna, she becomes immersed in a dream world of dramatic incidents from Isadora's life. The dreams become waking experiences and she fears her will is gradually being taken over. She ends up in places - in fact other countries - that she had no intention of being, pursuing an agenda that is not her own. In the second part of the book, she finds herself in Russia, where Isadora lived after the Revolution. She meets and falls in love with Vladimir, the grandson of Isadora's former dance collaborator. Unable to prevent herself being possessed while visiting the school Isadora founded, Tamsin is arrested by the authorities. A Russian KGB officer has his own plans and abducts her, keeping her prisoner in a dacha outside Moscow. He shows her a film of herself dancing and then the surviving film of Isadora. The two are almost identical and a dramatic climax ensues. Themes in the book explore the nature of memory and how it is influenced by photographic and filmic record, love and loss and the way patterns repeat in people's lives in an attempt to change outcomes.

Being Isadora is a story of possession. Isadora Duncan, the founder of modern dance, was an intensely creative, free-spirited woman. Her life experiences early last century were as fascinating and tragic as her achievements. In New York in 1985, Isadora's last surviving pupil and adopted daughter, ninety-year old Anna Duncan, is searching for a way to fulfill a long held promise. Isadora wished to control the way she was remembered and had made Anna promise that any remaining film of her dancing would be destroyed. But one film survives and Anna is running out of time to find it. A young Australian journalist, Tamsin Doyle, attends a dance class at the Isadora Duncan Studio and meets Anna, unknowingly becoming part of the quest. Initially the stories of Isadora and Tamsin run parallel, then as Tamsin gets to know Anna, she becomes immersed in a dream world of dramatic incidents from Isadora's life. The dreams become waking experiences and she fears her will is gradually being taken over. She ends up in places - in fact other countries - that she had no intention of being, pursuing an agenda that is not her own. In the second part of the book, she finds herself in Russia, where Isadora lived after the Revolution. She meets and falls in love with Vladimir, the grandson of Isadora's former dance collaborator. Unable to prevent herself being possessed while visiting the school Isadora founded, Tamsin is arrested by the authorities. A Russian KGB officer has his own plans and abducts her, keeping her prisoner in a dacha outside Moscow. He shows her a film of herself dancing and then the surviving film of Isadora. The two are almost identical and a dramatic climax ensues. Themes in the book explore the nature of memory and how it is influenced by photographic and filmic record, love and loss and the way patterns repeat in people's lives in an attempt to change outcomes.

Study of Gordon (PHAII) and Gitelman (GS) syndromes revealed the importance of the WNK pathway and thiazide-sensitive Na-Cl Cotransporter (NCC) in the renal control of blood pressure. PHAII mutations lead to WNK accumulation resulting in the hyperphosphorylation of the downstream effector, SPAK, which overactivates NCC causing salt retention and hypertension. Mutations causing deletion of exon-9 in Cullin-3, which normally ubiquitylates WNKs for degradation, were recently discovered to cause the severest subtype of PHAII (PHA2E) with early onset salt-sensitive hypertension and hyperkalaemia. The reasons for this severity have remained elusive, however clues came from SPAK knock-out mice which recapitulate GS, the phenotypic mirror image of PHAII, typically caused by activation-inhibiting NCC phosphorylation site mutations resulting in salt-wasting and hypotension. As these mice were also discovered to have reduced vascular tone, it suggests the WNK pathway may have extra-renal roles in vascular smooth muscle function and highlights inhibition of SPAK function as a promising anti-hypertensive strategy with multiple sites of action. To address these possibilities the work aimed to phenotype: (1) heterozygous CUL3$^{WT/\Delta403-459}$ mice to investigate a possible vascular contribution to PHAII pathophysiology, (2) homozygous knock-out mice of MO25, a master regulator known to increase SPAK activity up to 100-fold independent of WNKs, and (3) homozygous SPAK$^{L502A/L502A}$ knock-ins, predicted to have disrupted SPAK binding to WNK/NCC, in order to validate SPAK signalling inhibition as a viable anti-hypertensive strategy. In mice, the CUL3$^{\Delta403-459}$ proteins are hyperflexible, hypermodified and ultimately have reduced WNK ubiquitylation. This lead to hypertension, hyperkalaemia, hyperchloraemia with compensated metabolic acidosis and growth retardation, which closely recapitulates human PHA2E. The discovery of increased vascular tone suggests an explanation for the severity of CUL3$^{\Delta}$$^{ex9}$PHAII. In mice, homozygous MO25$\alpha$ knock-out proved embryonically lethal, while homozygous MO25$\beta$ knock-out did not meaningfully alter blood pressure or electrolyte homeostasis. However, the SPAK$^{L502A}$ protein had a decreased ability to bind WNKs and cation-chloride cotransporters NCC and NKCC1/2, serving to reduce their activation. SPAK$^{L502A/L502A}$ mice showed typical features of GS with mild hypokalaemia, hypomagnesaemia, hypocalciuria and salt-wasting hypotension. The mice also presented with decreased markers of vascular tone potentially due to effects on cardiovascular and neuronal NKCC1. These results show that SPAK binding is crucial for blood pressure control and pharmacological inhibition of this binding is an attractive anti-hypertensive strategy.

The isotopic composition of water vapor and precipitation at continental and oceanic sites depends on factors such as: the geographical location of the sampling site, meteorological conditions at the moisture source areas, local meteorological conditions, rainout history of air-masses along their trajectory, large-scale moisture recycling below cloud evaporation, etc. The present study aims at identification and quantification of such processes over the Indian subcontinent and the Southern Ocean based on observed stable isotopic composition in precipitation and atmospheric moisture. The oxygen and hydrogen isotopic composition of precipitation at Srinagar, Kashmir, allowed delineating the respective role of large-scale moisture transport processes vs that of other meteorological factors such as temperature and precipitation amount. The time integrated, large-scale convective activity over several days, constitutes a major factor governing the isotopic composition of precipitation at Srinagar, whereas local meteorological factors play a minor role. Over the Southern Ocean, as opposed to local factors, atmospheric pressure and air temperature majorly govern the precipitation isotopic composition. The isotopic data was further used to estimate the moisture sources contributing to the summer precipitation at Kolkata and summer/winter precipitation at Srinagar. A simple box model was developed to simulate the moisture transport and mixing to estimate the contribution of sources to precipitation at Srinagar and Kolkata. Precipitation at Srinagar, during the active period of the Western Disturbances, carries 80% of moisture from the Mediterranean region while the balance originates from the Arabian area. Adopting moisture source isotope signatures observed over a long-time span at the New viii Abstract ix Delhi station, the Rayleigh’s distillation model explains the observed variability in the isotopic data at Kashmir Valley during the Indian Summer Monsoon. At Kolkata, the Bay of Bengal is a major moisture contributor to precipitation supplying overall 65-75% of the total precipitation during the south west and the continental contribution varies from 25-35%. Over the Himalayan region, a discrepancy was noted between the measured isotopic composition of precipitation and that simulated by an isotope enabled general circulation model. The model underestimates the number of precipitation days as well as the magnitude of isotopic values. This may be attributed to deficiencies in the meteorological inputs or inadequate estimates of other parameters used in the model, as distinct hydrological parameterizations do lead to large differences in isotopic responses. The Craig and Gordon models are used to calculate the isotopic composition of evaporation flux in many isotope enabled general circulation models. The parameters governing the isotopic composition of evaporation flux can be considered separately or simultaneously in the Traditional and the Unified Craig-Gordon (CG) models. These models were tested for different molecular diffusivity ratios and ocean surface conditions to identify the parameterizations that best match the observed relationships between the meteorological parameters and the isotopic composition of water vapor. The model that matches best is used to calculate the isotopic composition of the local evaporation along the Southern Ocean sampling transect. The advected end member isotopic composition is assumed from the previous observations along the path followed by the air trajectories. Solving in a two-component mixing framework, the relative contribution of advected and evaporated vapor along the sampling transect is established. The advected moisture is a prominent component of the ambient vapor and its contribution becomes greater with increasing latitudes. South of 65 S the amount of moisture present in the atmosphere is less and is majorly local in origin with a small mixing of light Antarctic moisture. Results from this study should be useful to tune the models, and further help in the interpretation of regional paleo-climate data based on isotope proxies.

One of the world’s largest freshwater deltas (~4000 km2), the Peace-Athabasca Delta (PAD), is located at the convergence of the Peace and Athabasca rivers and Lake Athabasca in northern Alberta, Canada. Since the early 1970s, there has been increasing concern regarding the ecological impacts on the PAD after flow regulation of the Peace River began in 1968, decreased discharge in the Peace and Athabasca rivers as a result of hydroclimatic changes in Western Canada, and increased Athabasca River water usage by oil sands development to the south. This thesis is part of an ongoing, multi-disciplinary project assessing current and past hydrological and ecological conditions in the PAD. Research conducted in this thesis aims to better understand the processes controlling water balance of lakes in the PAD using mainly stable water isotope data collected from lakes and their input sources. Isotope data are used to describe and quantify hydrological processes for individual lakes (seasonal and annual) and across the delta and are supported by other chemical and hydrometric data. An isotopic framework in d18O-d2H-space is developed for the PAD using evaporation-flux-weighted local climate data, and isotopic data collected from a reference basin, lakes throughout the PAD, and lake input sources (i.e., snowmelt, rainfall, and river water). The framework is comprised of two reference lines, the Local Meteoric Water Line, which is based on measured isotopic composition of precipitation, and the Local Evaporation Line, which is based on modelled isotopic composition of reference points. Evaporation pan data is used to assess short-term variations in key isotopic reference values, which are important for addressing short-term changes in the isotopic signature of shallow basins. This framework is used in subsequent chapters including assessment of seasonal and annual water balance of two hydrologically-contrasting shallow lakes, and to quantify the impacts of flood water and snowmelt on a set of 45 lakes in spring 2003. Five years of isotope data using time-series analysis and the isotopic framework suggested that a perched (isolated) lake and its catchment (forest and bedrock) in the northern, relict Peace sector captured sufficient rain, snow, and runoff to maintain a relatively stable water balance, and also that a low-lying lake in the southern, active Athabasca sector was regularly replenished with river water in both spring and summer. Snowmelt and rainfall were found to have diluted the perched basin by an average of 16% and 28 % respectively, while spring and summer floods were found to almost completely flush the low-lying lake. Using the spring 2003 regional dataset, flooded lakes were separated from snowmelt-dominated lakes through use of suspended sediment concentrations, isotope data, and field observations. Application of an isotope mixing model translated d18O values into a range of replenishment amount by either river water or snowmelt, which compared well with hydrological conditions at the time of sampling and previously classified drainage types of the lakes. Spatial mapping of replenishment amounts illustrated flooding of much of the Athabasca sector due to ice-jams, except for two sub-regions isolated from flooding by artificial and natural northern diversion of flow from the Athabasca River. It is also shown that most of the relict landscape of the Peace sector was replenished by snowmelt except for a few low-lying lakes close to the Peace River and its tributaries. Overall, improved understanding of lake and regional hydrology in the PAD, especially the ability to quantify the affects of various lake inputs, will improve the ability to develop effective guidelines and management practices in the PAD as lakes respond to future changes in climate and river discharge.

"November 2004"
Bibliography: p.167-179.
xi, 333 p. : ill., photos (col.) ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Focuses on behavioural models of masonry walls with a view to improving their accuracy and extending their application. Results include a numerical model and mathematical expressions capable of predicting the key stages of the non-linear load-deflection behaviour of walls subjected to vertical bending and axial loading; new mathematical expressions for horizontal and diagonal bending moment capacities that are dimensionally consistent and account for the beneficial effects of compressive stress; and. Experimental test data for masonry sections subjected to horizontal and diagonal bending, which were used in the development and verification of the new mathematical expressions.
Thesis (Ph.D.)--University of Adelaide, School of Civil and Environmental Engineering, 2004

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012
Exame público realizado em 28 de Novembro de 2012
A presente dissertação de mestrado aborda os ambientes cénicos elaborados em dois campos distintos - a Arquitectura e a Cenografia –, com base na obra de um precursor de cada campo: o cenógrafo Edward Gordon-Craig e o arquitecto Le Corbusier. É traçado um paralelismo entre os ambientes espaciais preconizados por cada um, com o objectivo de determinar os pressupostos teóricos e estéticos por detrás das duas disciplinas, os veículos utilizados na criação das atmosferas que determinam um espaço cénico, os seus antecedentes históricos, contra que correntes de pensamento reagem, se são fenómenos independentes, ou se se cruzam, de alguma forma, em algum momento. As obras estudadas partilham uma preocupação: a relação entre observador e observado, actor e espectador. A cenografia criada por Craig para definir uma nova noção da interpretação do texto dramático. A arquitectura de cariz religioso desenhada por Le Corbusier. O espaço cénico não está limitado à boca de cena. Está presente em espaços exteriores e interiores que despertam em nós reacções sensoriais, condicionam a nossa postura, nos seduzem e emocionam. De modo a determinar o que aproxima e separa os espaços cénicos criados por estes dois autores, são abordados os conceitos por detrás dos projectos estudados, assim como a semiótica dos elementos por eles utilizados na criação dos ambientes que caracterizam as suas obras; como estes elementos têm influência na nossa percepção do espaço, e como tais características se aplicam à definição de um espaço cénico. (Filipa Duarte Ferreira da Silva)

Author's name: Pavel Froněk School: Faculty of Arts, Charles University in Prague Program: Institute of Art History Title: "Photopurism" in Art of František Drtikol Consultant: Prof. PhDr. Vojtěch Lahoda CSc. Year: 2011 The present paper aims to explore fine art photography of František Drtikol between years 1929-1935. Most of these photos were pictures of artifical figures made by autor himself. The paper also tries to tell, if all of fineart photos of 1929-1935 can be called "photopurism" and make some of more distinctive of them known to reader. Drtikol's spiritual background is also examined and possible interpretation of artworks is attempted. Key words: František Drtikol, photography, nude body, figure, photopurism, buddhism, christianity, Antonín Mattas, Lehr und Versuchsanstalt für Photographie, Antonín Mattas, Georg Heinrich Emmerich, Gordon Craig

The present dissertation analyses the scenarios and costumes of the ballets designed by the choreographer and artistic director of the Gulbenkian Ballet Group, Milko Sparemblek. The cross between the dimension of dance and the visual arts is a new approach to the intervention of Sparemblek in the production of portuguese dance in the seventies. From the choreographic aesthetic of Sparemblek, a bridge is made with a plastic component inherent to the scenography and figures of his creations. Simultaneously, explore and recognize as diverse possibilities of creation of the scenic space, according to an analysis of the historical evolution of scenography and the protagonists. The dialogues that occur between the scene and the costumes are revealed to conceive a balanced theatrical space and as implications or limitations that make a commentary to the artist who idealizes it. The portuguese artists who collaborated with the Gulbenkian Ballet Group are identified, as well as the characteristic elements of their works and their contribution in scenography and respected costumes of the works under analysis. This dissertation analyzes the scenarios and costumes of ballets designed by the choreographer and artistic director of the Gulbenkian Ballet Group, Milko Sparemblek