Spectres de planchers et justification des équipements en zones sismiques, proposition d'une nouvelle formulation

International audience La principale exigence des codes actuels pour la construction dans la situation sismique est la préservation des vies humaines. Cette exigence s'applique à la structure dans sa globalité, bien évidemment aux éléments structuraux, mais aussi aux éléments non-structuraux. Pour ces derniers, une analyse globale de la structure avec éléments structuraux et non structuraux est rarement possible, principalement en raison de la méconnaissance des caractéristiques des éléments non structuraux. Cependant, l'interaction entre ces deux parties existe et se retrouve aussi bien pour des bâtiments industriels que pour des bâtiments d'habitations ou de bureaux. Cette étude propose une formulation simplifiée de la force latérale appliquée à un élément non structural ou à un équipement. Dans le cas d'équipement fixé en un seul point, la problématique est de définir l'accélération subie par un élément intégré dans une structure soumise à un séisme. Cet élément est soumis à une accélération due à l'amplification entre le sol et l'étage ou est fixé l'équipement et à celle entre l'étage et l'équipement lui-même. La démarche proposée est appliquée à un exemple simple et comparée à des formulations d'autres codes et guides. </div

Doing the Vimy Glide: Intersections of Landscape, Art, and Memory in Vern Thiessen’s Vimy

Le centenaire de la Première Guerre Mondiale (1914-1918) a suscité un intérêt renouvelé pour les récits de guerre, aussi bien au Canada qu’à travers le monde. Au Canada, cela se traduit le plus souvent par le souci qu’ont les institutions de commémorer la première grande victoire militaire du Canada au cours de cette guerre, soit la bataille de la crête de Vimy. Cet important récit anime encore la conscience nationale et se rapporte, par l’intermédiaire de pratiques de commémoration, à la construction de lidentité canadienne. Apportant un point de vue artistique et contemporain à cette histoire, la pièce Vimy de Vern Thiessen montre à quel point l’identité individuelle, régionale et nationale des Canadiens s’est construite en rapport avec le mythe de Vimy. À travers le motif du "chant et de la danse" qui parcourt la pièce, que ce soit l’utilisation de la musique comme appel à la camaraderie, ou du "vol plané" dans un paysage décimé comme appel à la bataille, l’article démontre que Thiessen manœuvre avec succès dans le territoire complexe de la commémoration et de la représentation historique de la bataille de Vimy

Thought, perception and the creative act: a study of the work of four contemporary French poets: Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos

In this thesis I suggest that the work of the four contemporary poets studied manifests the vital role perceptual experience plays in the creation of literary texts. I engage primarily in the analysis of particular texts in order to argue for a shift in critical focus away from the explicit manipulation or exteriorization of the physical aspects of poetry (for example versification and explicit visual presentation) in order to concentrate on the role sensory aspects of thought play within it. Emphasis is therefore put on the way these poets draw from sensory experience, and the effect this has on the way their poetry functions. A shift away from traditional critical vocabulary is considered necessary in part due to the fact that discussions of the physical aspects of poetry often carry with them a variety of preconceptions concerning the nature of language, thought and the thinking subject. The tendency to pose dividing lines between mind and body, word and image, the physical and non-physical aspects of language has characterized the history of Western thought, and neither literature nor literary criticism have been exempt from the conceptual presuppositions inherent in such binary systems. Here, I consider how the work of Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos transcends such dualisms, using the analysis of specific works to develop a critical approach that reflects their exploration of the ambiguity of the boundaries that separate different sorts of experience and means of expression. The thesis is therefore structured around the development of three concepts, ‘pensée-vue’, ‘pensée-voix’ and ‘pensée-toucher’, inspired directly by the texts studied, that are intended to indicate the vital role different forms of perception play in both the creation and experience of poetic texts. It is hoped that the development of an approach that emphasizes the connection between thought, perception and creativity will suggest the fertility of a shift in critical focus in domains beyond that of contemporary French poetry

Thought, perception and the creative act : a study of the work of four contemporary French poets, Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos

In this thesis I suggest that the work of the four contemporary poets studied manifests the vital role perceptual experience plays in the creation of literary texts. I engage primarily in the analysis of particular texts in order to argue for a shift in critical focus away from the explicit manipulation or exteriorization of the physical aspects of poetry (for example versification and explicit visual presentation) in order to concentrate on the role sensory aspects of thought play within it. Emphasis is therefore put on the way these poets draw from sensory experience, and the effect this has on the way their poetry functions. A shift away from traditional critical vocabulary is considered necessary in part due to the fact that discussions of the physical aspects of poetry often carry with them a variety of preconceptions concerning the nature of language, thought and the thinking subject. The tendency to pose dividing lines between mind and body, word and image, the physical and non-physical aspects of language has characterized the history of Western thought, and neither literature nor literary criticism have been exempt from the conceptual presuppositions inherent in such binary systems. Here, I consider how the work of Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos transcends such dualisms, using the analysis of specific works to develop a critical approach that reflects their exploration of the ambiguity of the boundaries that separate different sorts of experience and means of expression. The thesis is therefore structured around the development of three concepts, ‘pensée-vue’, ‘pensée-voix’ and ‘pensée-toucher’, inspired directly by the texts studied, that are intended to indicate the vital role different forms of perception play in both the creation and experience of poetic texts. It is hoped that the development of an approach that emphasizes the connection between thought, perception and creativity will suggest the fertility of a shift in critical focus in domains beyond that of contemporary French poetry.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Returning to Vimy Ridge : Canada's narrative of battle and remembrance

The approach of the centennial of World War I (1914-1918) has marked an increase in domestic and international interest in war narratives. In Canada, this can be most clearly seen in the institutional focus on remembering Canada's first major military victory in that war, the Battle of Vimy Ridge. This study begins with the question of why the grand narrative of Vimy Ridge continues to persist in the national consciousness, especially as it relates to identity construction and commemorative practice. And why do Canadian artists, educators, historians and war veterans continue to return to Vimy? Through my examination of three texts that represent three different genres in Canadian literature, Pierre Berton's popular history book, Vimy, Jane Urquhart's novel The Stone Carvers, and Vern Thiessen's play, Vimy, I endeavour to make conclusions about the role of contemporary artists in challenging and disrupting traditional representations of the Vimy narrative. In particular, this study explores how these authors (especially Urquhart and Thiessen) are engaged in an imaginative retelling or revision of the meta-narrative or "myth" of Vimy. I employ Jonathan Vance's use of the term "myth" to capture the imaginative and epic elements of the Vimy story. At the same time, I examine specific ways in which Thiessen and Urquhart interrogate traditional representations of soldiers and the home front through their depictions of gender, ethnicity, religion and art. These two writers are exploring alternative narratives, or in the words of Herb Wyile, "speculative fictions" that unfold in the inventive blend of history and fiction. My field work at the site of Vimy Memorial Park near Arras, France, and at the Canadian War Museum in Ottawa, Ontario, also has as its focus the commemorative role of Vimy in national narratives about WWI. At these two sites, I found evidence of the institutional mandate to remember juxtaposed with the material evidence of social and cultural suffering and healing. My conclusions argue that the Vimy narrative continues to play an important role in the Canadian social ethos, but contemporary approaches to the narrative provide critical interventions to the representation of war in Canada.Arts, Faculty ofEnglish, Department ofGraduat