Geochemistry of the Japan Trench sediments at DSDP Legs 56-57 Holes

The main objective of this investigation was to study distribution of main chemical constituents and several minor elements in sediment sections drilled during DSDP Legs 56 and 57 in the Japan Trench, in order to infer geochemical features of different lithologic types of sediments, and to find out how the geochemistry is associated with major lithologic constituents, such as terrigenous detrital matter, clay, volcanic ash, and biogenic particles. The geochemical data may help to indicate the nature of the sediments and to interpret sedimentation processes. The analyzed samples seem to be representative of most lithologic units, sub-units, and sediment types drilled at all sites on both legs, except for some shallow-water deposits at Sites 438 and 439. We analyzed bulk-sediment composition by X-ray fluorescence (Kuzmina and Turanskaya) and routine wet-chemical methods (Mikhailov); amorphous SiO2, extracted in a boiling sodium carbonate solution (Analythical Laboratory, P. P. Shirshov Institute of Oceanology); Cr, Zn, Cu, Ni, Co, and Al by atomic absorption (Gordeev); and Sn, Pb, Zn, Cu, Ni, Co, Cr, V, B, and Ag by quantitative spectrographic analyses in both bulk samples and granulometric fractions (Mikhailov). In addition, Fe, Ti, Mn, and CaCO3 have been determined in selected samples by routine wet-chemical methods (Analytical Laboratory, P. P. Shirshov Institute of Oceanology). Murdmaa was responsible for interpretation of the results.

Geochemistry and minerals at DSDP Legs 68-70 Holes

The compositions of natural glasses and phenocrysts in basalts from Deep Sea Drilling Project Sites 501, 504, and 505, near the Costa Rica Rift, constitute evidence for the existence of a periodically replenished axial magma chamber that repeatedly erupted lavas of remarkably uniform composition. Magma compositions were affected by three general components: (1) injected magmas carrying (in decreasing order of abundance) Plagioclase, olivine, and chrome-spinel phenocrysts (spinel assemblage); (2) injected magmas carrying Plagioclase, clinopyroxene, and olivine phenocrysts, but no spinel (clinopyroxene assemblage); and (3) moderately evolved hybrids in the magma chamber itself. The compositions of the injected phenocrysts and minerals in glomerocrysts are as follows: Plagioclase - An85-94; olivine - Fo87-89; clinopyroxene - high Cr2O3 (0.7-1.1%), endiopside (Wo42En51Fs7), and aluminous chromian spinel (Cr/Cr + Al = 0.3). These minerals resemble those thought to occur in upper mantle sources (9 kbars and less) of ocean-ridge basalts and to crystallize in magmas near those sources. In the magma chamber, more sodic Plagioclase (An79-85), less magnesian olivine (Fo81-86) and low-Cr2O3 (0.1-0.4%) clinopyroxene formed rims on these crystals, grew as other phenocrysts, and formed cumulus segregations on the walls and floors of the magma chamber. In the spinel-assemblage magmas, magnesiochromite (Cr/Cr + Al = 0.4-0.5) also formed. Some cumulus segregations were later entrained in lavas as xenoliths. The glass compositions define 16 internally homogeneous eruptive units, 13 of which are in stratigraphic order in a single hole, Hole 504B, which was drilled 561.5 meters into the ocean crust. These units are defined as differing from each other by more than analytical uncertainty in one or more oxides. However, many of the glass groups in Hole 504B show virtually no differences in TiO2 contents, Mg/Mg + Fe2+, or normative An/An + Ab, all of which are sensitive indicators of crystallization differentiation. The differences are so small that they are only apparent in the glass compositions; they are almost completely obscured in whole-rock samples by the presence of phenocrysts and the effects of alteration. Moreover, several of the glass units at different depths in Hole 504B are compositionally identical, with all oxides falling within the range of analytical uncertainty, with only small variations in the rest of the suite. The repetition of identical chemical types requires (1) very regular injection of magmas into the magma chamber, (2) extreme similarity of injected magmas, and (3) displacement of very nearly the same proportion of the magmas in the chamber at each injection. Numerical modeling and thermal considerations have led some workers to propose the existence of such conditions at certain types of spreading centers, but the lava and glass compositions at Hole 504B represent the first direct evidence revealed by drilling of the existence of a compositionally nearly steady-state magma chamber, and this chapter examines the processes acting in it in some detail. The glass groups that are most similar are from clinopyroxene-assemblage lavas, which have a range of Mg/Mg + Fe2"1" of 0.59 to 0.65. Spinel-assemblage basalts are less evolved, with Mg/Mg + Fe2+ of 0.65 to 0.69, but both types have nearly identical normative An/An + Ab (0.65-0.66). However, the two lava types contain megacrysts (olivine, Plagioclase, clinopyroxene) that crystallized from melts with Mg/Mg + Fe2+ values of 0.70 to 0.72. Projection of glass compositions into ternary normative systems suggests that spinel-assemblage magmas originated deeper in the mantle than clinopyroxene-assemblage magmas, and mineral data indicate that the two types followed different fractionation paths before reaching the magma chamber. The two magma types therefore represent neither a low- nor a high-pressure fractionation sequence. Some of the spinel-assemblage magmas may have had picritic parents, but were coprecipitating all of the spinel-assemblage phenocrysts before reaching the magma chamber. Clinopyroxene-assemblage magmas did not have picritic parents, but the compositions of phenocrysts suggest that they originated at about 9 kbars, near the transition between plagioclase peridotite and spinel peridotite in the mantle. Two glass groups have higher contents of alkalis, TiO2, and P2O5 than the others, evidently as a result of the compositions of mantle sources. Eruption of these lavas implies that conduits and chambers containing magmas from dissimilar sources were not completely interconnected on the Costa Rica Rift. The data are used to draw comparisons with the East Pacific Rise and to consider the mechanisms that may have prevented the eruption of ferrobasalts at these sites.

Mineralogy and geochemistry of volcanic ash at Japan Trench from DSDP Legs 87 and 57

Volcanogenic sediments were obtained from Site 584, located on the midslope of the Japan Trench. Occurrences of volcanic ash in the diatomaceous mudstones increase within sediments dated 6-3 Ma. The frequency pattern and the sediment accumulation rate obtained at Site 584 are similar to those of Site 440 and to those of Sites 438 and 439, located on the upper slope basin. Explosive volcanism increased during the Pliocene and late Miocene in relation to the intrusion of Tertiary granites and uplift of the Tohoku Arc (northeastern Japan Arc). Hygromagmaphile element concentration shows that the glass does not belong to a unique series, and a comparison with Nankai Trough data distinguishes at least two different evolutionary lines.

La création poétique à travers la "Correspondance Jules Supervielle-Etiemble"

A travers l’étude de la Correspondance Jules Supervielle-Etiemble et sa confrontation avec les manifestes du poète que sont  « Eléments d’une poétique » et « En songeant à un art poétique », notre article tente de définir la spécificité de la conception supervilienne de la poésie tout en évoquant les difficultés du poète à extérioriser, dans les premières années de sa jeunesse, les images inhérentes à son univers intérieur, et en faisant l’inventaire de quelques principes qui régissent son activité poétique : le refus de toutes les esthétiques et de toutes les techniques qui régissent préalablement la création poétique, l’adoption d’une technique a posteriori ou d’une « technique mouvante qui ne se fixe qu’à chaque poème », le travail de corrections, de retouches et de ratures, et le culte de l’oubli considéré moins comme une défaillance de la mémoire que comme le catalyseur des associations et images inattendues.

Recurrent varicose veins of the legs. Analysis of a social problem

The present study was aimed at assessing the experience of a single referral center with recurrent varicose veins of the legs (RVL) over the period 1993-2008. Among a total of 846 procedures for Leg Varices (LV), 74 procedures were for RVL (8.7%). The causes of recurrence were classified as classic: insufficient crossectomy (13); incompetent perforating veins (13); reticular phlebectasia (22); small saphenous vein insufficiency (9); accessory saphenous veins (4); and particular: post-hemodynamic treatment (5); incomplete stripping (1); Sapheno-Femoral Junction (SFJ) vascularization (5); post-thermal ablation (2). For the “classic” RVL the treatment consisted essentially of completing the previous treatment, both if the problem was linked to an insufficient earlier treatment and if it was due to a later onset. The most common cause in our series was reticular phlebectasia; when the simple sclerosing injections are not sufficient, this was treated by phlebectomy according to Mueller. The “particular” cases classified as 1, 2 and 4 were also treated by completing the traditional stripping procedure (+ crossectomy if this had not been done previously), considered to be the gold standard. In the presence of a SFJ neo-vascularization, with or without cavernoma, approximately 5 cm of femoral vein were explored, the afferent vessels ligated and, if cavernoma was present, it was removed. Although inguinal neo-angiogenesis is a possible mechanism, some doubt can be raised as to its importance as a primary factor in causing recurrent varicose veins, rather than their being due to a preexisting vein left in situ because it was ignored, regarded as insignificant, or poorly evident. In conclusion, we stress that LV is a progressive disease, so the treatment is unlikely to be confined to a single procedure. It is important to plan adequate monitoring during follow-up, and to be ready to reoperate when new problems present that, if left, could lead the patient to doubt the validity and efficacy of the original treatment.

DESIGN, MODELING, AND FABRICATION OF MICROROBOT LEGS

This dissertation presents work done in the design, modeling, and fabrication of magnetically actuated microrobot legs. Novel fabrication processes for manufacturing multi-material compliant mechanisms have been used to fabricate effective legged robots at both the meso and micro scales, where the meso scale refers to the transition between macro and micro scales. This work discusses the development of a novel mesoscale manufacturing process, Laser Cut Elastomer Refill (LaCER), for prototyping millimeter-scale multi-material compliant mechanisms with elastomer hinges. Additionally discussed is an extension of previous work on the development of a microscale manufacturing process for fabricating micrometer-sale multi-material compliant mechanisms with elastomer hinges, with the added contribution of a method for incorporating magnetic materials for mechanism actuation using externally applied fields. As both of the fabrication processes outlined make significant use of highly compliant elastomer hinges, a fast, accurate modeling method for these hinges was desired for mechanism characterization and design. An analytical model was developed for this purpose, making use of the pseudo rigid-body (PRB) model and extending its utility to hinges with significant stretch component, such as those fabricated from elastomer materials. This model includes 3 springs with stiffnesses relating to material stiffness and hinge geometry, with additional correction factors for aspects particular to common multi-material hinge geometry. This model has been verified against a finite element analysis model (FEA), which in turn was matched to experimental data on mesoscale hinges manufactured using LaCER. These modeling methods have additionally been verified against experimental data from microscale hinges manufactured using the Si/elastomer/magnetics MEMS process. The development of several mechanisms is also discussed: including a mesoscale LaCER-fabricated hexapedal millirobot capable of walking at 2.4 body lengths per second; prototyped mesoscale LaCER-fabricated underactuated legs with asymmetrical features for improved performance; 1 centimeter cubed LaCER-fabricated magnetically-actuated hexapods which use the best-performing underactuated leg design to locomote at up to 10.6 body lengths per second; five microfabricated magnetically actuated single-hinge mechanisms; a 14-hinge, 11-link microfabricated gripper mechanism; a microfabricated robot leg mechansim demonstrated clearing a step height of 100 micrometers; and a 4 mm x 4 mm x 5 mm, 25 mg microfabricated magnetically-actuated hexapod, demonstrated walking at up to 2.25 body lengths per second.

Psychiatric Comorbidities in Restless Legs Syndrome.

Restless legs syndrome (RLS) is a neurological sleep disorder with frequent (39%) coexisting psychiatric comorbidities. Patients with any psychiatric comorbidity had fewer periodic leg movements in sleep. Psychiatric disorders should be taken into account in patients with RLS.

La réactualisation du testament littéraire et du tombeau poétique dans Testament et Drama Queens de Vickie Gendreau

Le présent mémoire porte sur la réécriture par Vickie Gendreau, auteure québécoise contemporaine, de deux genres funèbres, le testament littéraire et le tombeau poétique. Dans ses deux récits, Testament et Drama Queens, Gendreau met en scène des narratrices qui s'apprêtent à mourir des suites d'une tumeur au cerveau, ce qui soulève plusieurs questions : de quelle manière tisse-t-elle des rapports intertextuels avec les genres évoqués plus haut ? Comment l'appropriation des genres funèbres permet-elle de vaincre l'angoisse associée à la mort proclamée par les médecins ? Comment penser l'écriture du corps et la fictionalisation de soi à l'aune de deux genres datant de l'époque médiévale ou de la Renaissance ? Dans le premier chapitre, nous nous attardons à la construction par Gendreau du testament littéraire dans sa forme médiévale dans Testament et à la reprise dans Drama Queens d'enjeux testamentaires ; l'héritage, la filiation et la transmission. La réécriture permet l'incorporation dans le récit de l'autodérision et de la mise en scène du devenir-cadavre. Dans le second chapitre, nous explorons le tombeau poétique, tant celui de la Renaissance que celui des poètes modernes. Ce faisant, nous abordons les discours de commémoration du défunt et surtout l'appropriation de la commémoration par les deux narratrices, et ultimement par Vickie Gendreau.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

La réactualisation du testament littéraire et du tombeau poétique dans Testament et Drama Queens de Vickie Gendreau

Le présent mémoire porte sur la réécriture par Vickie Gendreau, auteure québécoise contemporaine, de deux genres funèbres, le testament littéraire et le tombeau poétique. Dans ses deux récits, Testament et Drama Queens, Gendreau met en scène des narratrices qui s'apprêtent à mourir des suites d'une tumeur au cerveau, ce qui soulève plusieurs questions : de quelle manière tisse-t-elle des rapports intertextuels avec les genres évoqués plus haut ? Comment l'appropriation des genres funèbres permet-elle de vaincre l'angoisse associée à la mort proclamée par les médecins ? Comment penser l'écriture du corps et la fictionalisation de soi à l'aune de deux genres datant de l'époque médiévale ou de la Renaissance ? Dans le premier chapitre, nous nous attardons à la construction par Gendreau du testament littéraire dans sa forme médiévale dans Testament et à la reprise dans Drama Queens d'enjeux testamentaires ; l'héritage, la filiation et la transmission. La réécriture permet l'incorporation dans le récit de l'autodérision et de la mise en scène du devenir-cadavre. Dans le second chapitre, nous explorons le tombeau poétique, tant celui de la Renaissance que celui des poètes modernes. Ce faisant, nous abordons les discours de commémoration du défunt et surtout l'appropriation de la commémoration par les deux narratrices, et ultimement par Vickie Gendreau.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Efeito do treinamento e maturação sexual sobre o crescimento, composição corporal e desempenho motor em adolescentes do sexo masculino

Universidade Estadual de Campinas . Faculdade de Educação Física

Basquetebol chileno : perspectivas e desenvolvimento

Universidade Estadual de Campinas. Faculdade de Educação Física

Análise do jogo de goalball : modelação e interpretação dos padrões de jogo da Paralimpíada de Pequim 2008

Universidade Estadual de Campinas . Faculdade de Educação Física

Percepção de esforço em exercício sob fadiga em normóxia e hipóxia

Universidade Estadual de Campinas . Faculdade de Educação Física