273 research outputs found
James M. Powell, éd. trad. — The Deeds of Pope Innocent III by an Anonymous Author. Washington, Catholic Univ. of America Press, 2004.
No full textPascal Pierre. James M. Powell, éd. trad. — The Deeds of Pope Innocent III by an Anonymous Author. Washington, Catholic Univ. of America Press, 2004.. In: Cahiers de civilisation médiévale, 50e année (n°197), Janvier-mars 2007. pp. 93-95
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
Poetry of Thoughts : Pascal writing’s voice and musicality
No full textCette thèse se propose d'écouter les "Pensées" de Pascal. Dans quelle mesure Pascal, fils d'un organiste amateur et jeune auteur d'un "Traité des sons", s'est-il approprié l'univers sonore de son époque pour composer une œuvre dont les rythmes n'ont cessé d'étonner, de réveiller et d'entraîner ses lecteurs ? Pascal écrit-il « comme un musicien », selon l'hypothèse de Jean Mesnard ? Étudier la musicalité des "Pensées" suppose, tout d'abord, l'analyse de l'énonciation : le contexte prédicatif comme les recherches en acoustique de l'âge classique sont en lien avec une écriture de l'actio, c'est-à-dire une écriture oratoire. C'est par l'ouïe qu'on convertit, rappelle Pascal en citant la "fides ex auditu" paulinienne. La démarche entreprise avec l'écriture des "Pensées" n'est pas sans rappeler les principes des traités de musique de l'époque (ceux de René Descartes, de Marin Mersenne, de Pierre Gassendi...), comme les partitions qui pouvaient être publiées chez Ballard, par exemple. Motets, airs spirituels, Tombeaux et airs de cour composent un paysage sonore encourageant à choisir et à créer des rythmes particuliers, en explorant la « disposition des matières ». La musicalité d'un texte, c'est-à-dire sa prosodie, ses mouvements, son imaginaire, ne se fonde cependant pas sur de la matière sonore en tant que telle. Parler de poésie, et notamment de « poèmes en prose », permet d'étudier le lyrisme pascalien : heurté, dissonant, voire strident, ce lyrisme peut évoquer, pour le lecteur actuel, certaines expérimentations acoustiques de musique contemporaine, par exemple celles d'Edgar Varèse. Le rapport à la voix est pourtant ancré dans les sonorités du XVIIe siècle : l'étude du gémissement et des silences nous ramène au projet de conversion. Ce projet ne peut passer par le lyrisme d'une « éloquence continue » qui resterait à la surface de l'être : les "Pensées" relèvent d'un lyrisme apophatique, engageant le lecteur comme un interprète.This thesis offers to listen to the Thoughts of Blaise Pascal. To what extent Pascal, son of an amateur organist and a young author of Traité des sons, did he identify with the universe of sound of his period to compose a work which rythms kept on astonishing, waking up and bring with them its readers ? Does Pascal write 'like a musician' according to Jean Mesnard 's assumption ? Studying musicality the Thoughts means, first of all, the analysis of announcement : the predicative context like researches in sounds of the classical age linked to the writing of the actio, that is to say , oratory writing. It's trough the ear that we convert recalls Pascal, quoting the pauline just like the thought 'fides ex auditu '. The initiative taken with the writing of the Thoughts is not without recalling the principles of the ageements of music at that period — those of René Descartes, Marin Mersenne and Pierre Gassendi...— like the score published by Ballard, for instance. Motets, spiritual melodies, tombeau, airs de cour, compose a sound landscape encouraging to chose and to create specific rythms by exploring the 'disposition des matières ' (fragment 575). The musicality of a text – its prosody, its moves, its imaginary world — however , doesn't rely on sound material in its current form. Speaking about poetry and especially, prose poetry allows to study the Pascal's lyricism : hit, dissonant, even strident, for the current reader, some sound experimentations of contemporary music, for instance, the ones of Edgar Varèse. The relation to voice is however fixed in the seventeenth century sounds : the study of whining and silence brings us back to conversion project. This project can't go with continuous eloquence (fragment 636) which would remain at the human being 's surface. The Thoughts belong to an apothatic lyricism, involving the reader like a performer
A comparison of methods for the estimation of buildings' heating load after
No full textDiese Dissertation befasst sich empirisch mit der Abweichung des erwarteten und tatsächlichen Heizwärmebedarfes von den zum Passivhausstandard sanierten Gebäuden. Diese Studie stützt sich auf die Stichprobe der sieben folgenden sanierten Gebäude: vier Wohnhausanlagen in Vorarlberg, das Obergeschoss eines Zweifamilienhauses in Niederösterreich und einem Pensionistenheim in der Steiermark. Datenlogger wurden in diesen Gebäuden während der Heizperiode 2009/2010 (vom 1. Oktober 2009 bis zum 30. April 2010) aufgestellt. Mittels des Heizenergieverbrauches wurde der tatsächliche Heizwärmebedarf abgeschätzt und mit der Energiekennzahl des Energieausweises verglichen.Dabei zeigten sich, mit einer Ausnahme, große Abweichungen. Um die Ursache dieser Diskrepanz abzuklären, wurden mehrere Berechnungsmethoden des Heizwärmebedarfes verwendet: das Jahresverfahren, das Monatsverfahren und die dynamische thermische Simulation. Die dabei vorgenommene Normalisierung der Abschätzungen hinsichtlich Wetter, Raumlufttemperaturen und die internen Gewinne konnten die Abweichungen nicht erklären.Erst die Berücksichtigung der vom Nutzerverhalten abhängigen Luftwechselzahlen in diesem Fall die Fensterlüftung konnten Hinweise auf die signifikante Abweichung der rechnerisch ermittelten Heizwärmebedarfs-Werte von den tatsächlichen Werten liefern.The topic of this thesis is the empirical study of the gap between the estimated and actual heating loads of residential buildings after thermal retrofit measures (to achieve "Passivhaus" standard). This study is based on a sample of seven recently renovated buildings. The selected buildings are five multiple dwellings in Vorarlberg, the upper level of a duplex in Lower-Austria and a residential complex for the elderly in Styria.Data-loggers were set in these buildings during the heating season 2009/2010 (from October the 1st 2009 until April the 30th 2010).For each building, the heating demand was estimated via thermal energy use and compared with the Energy Certificates values. Except for one building, a significant discrepancy between the former and latter was discovered.To figure out the discrepancy's origin, three different calculation principles were used. If main calculation parameters (air change rate, indoor air temperature, outside air temperature, internal heat gains) are set according to default (standard) values, none of these computational methods permits to explain this gap. A subsequent multi-factor study revealed that mainly the assumptions pertaining to user-dependent the air change rates (window operated ventilation) could explain the aforementioned discrepancy
The aesthetics of Pierre Boulez
No full textTo enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham
A comparison of projected and actual energy performance of buildings after thermal retrofit measures
No full textnone see english versionThis article addresses the discrepancies between projected and actual energy performance
of thermally retrofitted buildings. Toward this end, we use detailed data and
observations pertaining to seven residential buildings in Austria that were thermally retrofitted
recently. These include five multifamily residences in Vorarlberg, the upper level
of a duplex house in Lower-Austria, and a residential complex for the elderly in Styria.
During the heating season 2009-2010 (1st October-30th April), indoor temperature
and relative humidity levels were measured and logged in these buildings. For each
building, the actual energy use during this period was derived based on bills for gas and
electrical power. Additionally, we obtained and examined existing energy calculations
(energy certificates) for these buildings. In six cases out of seven, we found a large discrepancy
between projected and actual space heating demand. To explore possible reasons
for this discrepancy, we generated for each of the buildings an energy certificate
and performed detailed thermal simulations. Thereby, we took the main input parameters
for energy calculations into consideration (air change rate, indoor air temperature,
outside air temperature, and internal gains). If we use standard (default) values as
suggested by Austrian standards for these parameters, the above-mentioned discrepancy
cannot be explained. Measurements in the buildings, as well as interviews with
the building's inhabitants implied that standard-based input data assumptions were not
reliable. A subsequent multi-factor study suggested that specifically the assumptions
Department of Building Physics and Building Ecology, Vienna University of Technology, Vienna, Austria
AQ3
Corresponding author:
A Mahdavi, Department of Building Physics and Building Ecology, Vienna University of Technology, Karlsplatz
13, 1040 Vienna, Austria.
Email: [email protected]
AQ4
regarding air change rates might be responsible for the large deviations of the calculated
values from the actual heating demand
SKEPTICISM IN THE PHILOSOPHY OF BLAISE PASCAL
No full textO ceticismo desempenha um papel decisivo na filosofia pascaliana. De fato, amplamente influenciado por autores como Michel de Montaigne e Pierre Charron, Blaise Pascal acaba por contrariar a tendência geral do século do grande Racionalismo, levantando profundas objeções relativamente à pretensão – tipicamente cartesiana – de se conhecer a Verdade de maneira certa e segura. Como se pode depreender mesmo de uma rápida leitura de seus escritos, a obra pascaliana é toda perpassada por uma notável desconfiança de nossa suposta capacidade de adquirir certezas inabaláveis sobre o que quer que seja: desconfiança esta que, diga-se de passagem, está em profunda sintonia com a chocante posição do autor concernente às consequências do pecado original. Assim sendo, o que pretendemos neste artigo é: i) apresentar os argumentos céticos subscritos por Pascal em sua principal obra filosófica – os Pensamentos; e ii) analisando a obra Do espírito geométrico e da arte de persuadir, indicar que nem mesmo os conhecimentos oferecidos pela luz natural são capazes de nos livrar das dúvidas suscitadas pela argumentação cética.Skepticism plays a decisive role in the Pascalian philosophy. In fact, widely influenced by authors like Michel de Montaigne and Pierre Charron, Blaise Pascal contradicts the general tendency of the century of the Great Rationalism, raising deep objections related to the pretention – typically Cartesian – of knowing the Truth in a certain and secure way. As one can apprehend from a quick reading of his writings, the Pascalian work is all pervaded by a remarkable distrust of our supposed capacity to acquire unshakable certainties about anything: distrust, which, by the way, is in profound concordance with the shocking position of the author concerning the consequences of the original sin. Thus, what we intend in this article is: i) to present the skeptical arguments subscribed by Pascal in his main philosophical work - the Thoughts; and ii) analyzing the work On the geometrical spirit and the art of persuasion, to indicate that not even the knowledge offered by the natural light can free us from doubts raised by skeptical argumentation
A comparison of projected and actual energy performance of buildings after thermal retrofit measures
No full textnone - see english versionThis paper addresses the discrepancies between projected and actual energy performance of thermally retrofitted buildings. It is based on the detailed observation of seven recently thermally retrofitted
residential buildings in Austria. These include five multifamily residences in Vorarlberg, the upper level of a duplex in Lower-Austria, and a residential complex for the elderly in Styria. During the heating season 2009/2010 (1st October - 30th April), indoor temperature and relative humidity were measured and logged in
these buildings. For each building, the actual energy use during this period was derived based on bills for gas and electrical power. Additionally, existing energy calculations (energy certificates) were examined. In six of seven cases, a large discrepancy between projected and actual space heating demand was noted. To explore
the reason for this discrepancy, for each of the buildings an energy certificate was generated and a detailed thermal simulation was conducted. Thereby, the main input parameters for energy calculations (air change rate, indoor air temperature, outside air temperature, internal gains) were taken into consideration. If all of
these parameters are set to the standard (default) values as suggested by Austrian standards, the above mentioned
discrepancy cannot be explained. Measurements in the buildings, as well as interviews with the building´s inhabitants implied that standard-based input data assumptions were not reliable. A subsequent multifactor study suggested that specifically the assumptions regarding air change rates might be responsible for the large deviations of the calculated values from the actual heating demand
Measurement of the D+/- production asymmetry in 7 TeV pp collisions
No full textThe asymmetry in the production cross-section \sigma of D+/- mesons, A_P = (\sigma(D+) - \sigma(D-))/(\sigma(D+) + \sigma(D-)), is measured in bins of pseudorapidity \eta and transverse momentum p_T within the acceptance of the LHCb detector. The result is obtained with a sample of D+ -> K_S pi+ decays corresponding to an integrated luminosity of 1.0 fb^-1, collected in pp collisions at a centre of mass energy of 7 TeV at the Large Hadron Collider. When integrated over the kinematic range 2.0 K_S pi+ decay is negligible. No significant dependence on \eta or p_T is observed
Artiste struggling with society and history in the work of Pierre Michon
No full textCette thèse porte sur le thème de l’artiste dans l’œuvre de Pierre Michon. L’artiste comme pratiquant d’une carrière liée à la création (picturale, poétique, musicale, etc.) est une figure compliquée, car il habite à la lisière d’un monde intérieur propre à lui seul et de l’univers socio-historique qui l’entoure et qui oriente ses essais. Ayant beaucoup écrit sur les peintres et les écrivains Michon est l’un des auteurs contemporains qui ont largement traité le processus labyrinthique du devenir-artiste. D’ailleurs, la question de l’artiste chez cet auteur ne peut être abordée qu’en compagnie des aspects socio-historiques de son œuvre. Ainsi, notre objectif durant ce travail consiste à analyser la formation de l’artiste, de même que le rôle crucial que jouent les instances socio-historiques dans le devenir-artiste, à partir de l’œuvre de Michon, afin de formuler le point de vue de cet auteur en ce qui concerne les diverses dimensions de la création artistique.This thesis focuses on the theme of the artist in the works of Pierre Michon. The artist as a practitioner of a career linked to creation (pictorial, poetic, musical, etc.) is a complicated figure, because he lives on the edge of an inner world proper to himself and of the socio-historical world that surrounds it and that guides its trials. Having written extensively about painters and writers, Michon is one of the contemporary writers who has widely dealt with the labyrinthine process of becoming-artist. Moreover, the question of the artist in this author can only be approached in the company of the socio-historical aspects of his works. Thus, the objective of this work is to analyze the formation of the artist, as well as the crucial role played by the socio-historical bodies in the becoming-artist, in the works of Michon, in order to formulate the point of view of this author with regard to the various dimensions of artistic creation
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