NCube/papyrus huggingface dataset:
L'exactitude de la cotation au Rorschach - Système Intégré

Scoring accuracy is of pivotal importance in the Rorschach – Comprehensive System (CS), as it insures validity of interpretation. However, very few studies have reported on the level of scoring accuracy in Rorschach-CS users, and these studies offer contradictory findings. Moreover, some studies report troublingly low accuracy rates for graduate students, and even for experienced clinicians. And, overall, very little information is available in the literature on the various types of coding errors and their respective prevalence. A first study was conducted to measure accuracy levels and identify types of coding errors and their prevalence in a sample of undergraduate students (n=14) trained in Rorschach-CS determinant coding with the standard reference manual for Rorschach-CS coding, namely the “Workbook”. First, results show low accuracy levels, with scores ranging from 20,5% to 67,0% (M = 39,8%) and from k .32 to k .81 at the determinant category level, and scores of 22,9% and 47,9% at the determinant segment level. Such low rates were however expectable, as the sample here was somewhat less skilled and motivated than usual samples of graduates students or clinicians, and the protocols scored were of extremely high difficulty. Second, errors made by the students were analysed and categorized, which yielded a list of all types of errors and their prevalence for a selection of five determinant categories: Human Movement, Animal Movement, Inanimate Movement, Chromatic Color, and Form Dimension. Some of the types of errors found could reflect weaknesses in the Workbook, and a critical review of the Workbook is recommended. In a second study, a critical review of the Workbook was conducted to identify its limitations, and a new manual for Rorschach-CS determinant scoring was drafted. The effect of this new manual on the scoring accuracy level of undergraduate students trained in Rorschach-CS iv determinant scoring was then measured, comparatively to the standard Workbook. Results showed that for determinant categories learned with in-class teaching, accuracy rates ranged from k .52 to k .75, and no significant difference was found between students using the standard manual and students using the new manual. But, for determinant categories learned without inclass teaching, accuracy rates were k .33 and k .58, respectively for students using the standard manual and students using the new manual, a difference that was found to be significant. Results in the “No Teaching” condition suggest the new manual produces significantly greater accuracy levels, and the absence of significant differences in the “With Teaching” condition is thought to result from the in-class teaching, which was homogenous in both groups and mirrored the new manual in content and structure.

Keyphrases: Rorschach, Comprehensive System (CS), Accuracy, Scoring, Coding, Determinants
Modèle du pseudo-atome neutre pour l'étude de métaux simples dans le régime de la matière dense et chaude à deux températures

The study of the warm dense matter (WDM), this particular state at the frontier of the solid phase and plasma phase, is in huge effervescence since it has many applications in astrophysics and in nuclear fusion technologies. Its theoretical description is filled with challenges and the development of mathematical tools adequate for this state is at the heart of this dissertation. In particular, we are interested at two distinct states of WDM obtained from different experimental techniques applied to simple metals. The first case is the ultra-fast matter (UFM) state where the temperature of the electronic system is super high while the ionic system one is kept at the room temperature. The UFM is not compressed of any kind and the density of the system is kept at the initial density of the material studied. The stability of this system is studied by computing the phonon spectrum and the internal pressure which is highly increased. The second case is the shock compressed matter (SCM) where the density of the system can reach up to two or three time the initial density. The temperature of both subsystems is considerably increased but the system can still be out of equilibrium. In this dissertation, the study of the UFM and the SCM is done by using the neutral pseudo-atom (NPA) model which efficiently and simplicity is perfect for the WDM. The x-ray Thomson scattering, the most used experimental technique to obtain WDM properties, requires a fitting to a theoretical spectrum which is easily obtainable from the NPA model. The electrical conductivity, a fundamental property for technological applications of the WDM, is studied in detail by comparing different approaches for this kind of calculations. Finally, since the creation of WDM usually leads to systems with the electron temperature different from the ion temperature, the calculation of WDM properties in this quasi-equilibrium state with two temperatures is one of the principal topics of this work and is one of the innovative elements of this dissertation.

Keyphrases: Warm dense matter, Simple metals, Pair-potentials, Phonon, Phonon, Ultra-fast matter, Shock compressed matter, Equation of state, Quasi-equilibrium
Les justes bornes de la richesse : fondements normatifs et mise en œuvre d’une richesse maximale

In this thesis, I try to establish the normative foundations for a maximum limit on wealth that includes two complementary measures: a maximum on income that can be implemented by means of an income tax, and a maximum on capital, which can be attained through a tax on inheritance; the marginal rate being 100% in both cases. Indeed, I argue that such a measure is fair, since it respects the principles developed in three main theories: libertarianism, sufficientarianism, and prioritarianism. Next, I argue that such a measure is economically efficient, since it allows to better spread financial incentives, which can have positive effects on the production and distribution of wealth. First, I maintain that a maximum limit on wealth respects the fundamental principle defended by libertarians, that is, self-ownership. To do this, I rely mainly on two arguments: the proviso and the theory of winner-takes-all markets. First, I show that if we associate natural resources with capital, the application of a proviso to the principle of acquisition prohibits the unlimited appropriation of natural resources, which justifies a maximum on capital. Then, I show that if the fruits of labor are associated with income, winner-takes-all markets allow certain individuals to receive incomes that are superior to the fruits of their labor, which violates the principle of self-ownership, and thus justifies a maximum on income. Secondly, I maintain that a maximum wealth respects the principles developed within two theories within the egalitarian tradition: those of sufficientarianism and prioritarianism. To do this, I show that these two theories are acceptable only if they integrate another theory named limitarianism. According to this theory, any wealth superior to that which an individual needs to live a flourishing life can be qualified as immoral. Consequently, such a theory makes it possible to justify a maximum wealth, since it adds a wealth threshold to the poverty threshold already defended by sufficientarians, and prioritarians.  Finally, I respond to one of the main objections that can be raised against maximum wealth and which deals with the economic efficiency of the capping of financial incentives. In fact, I show that maximum wealth, contrary to what one might believe, could have positive effects on the production and distribution of wealth. To do this, I rely mainly on three arguments. First, incentives are overestimated in economics. Second, there are several forms of incentives that are not limited to financial incentives alone. Finally, it is preferable to disseminate financial incentives widely rather than to exaggeratedly concentrate them on a minority of individuals.

Keyphrases: Justice distributive, Philosophy, Maximum wealth, Maximum income, Maximum capital, Distributive justice, Limitarianism, Libertarianism, Sufficientarianism, Prioritarianism, Incentives
Le narcissisme du selfie : esthétique et pratique de la subjectivité contemporaine

The cultural phenomenon of the selfie is commonly considered to be symptomatic of a contemporary form of narcissism, in line with the “me culture” so prevalent on social media. This condemnation of the selfie as narcissistic is based on psychoanalytic definitions of the term, a certain invocation of the mythical figure of Narcissus, and references to cultural historians that have been critiquing youth culture for decades. A more nuanced assessment of the selfie highlights instead its important role for subject formation. Each chapter of this thesis is organized according to a particular understanding of narcissism. The first chapters argues that Narcissus’s fundamental misconception in front of his reflection does not properly describe the visual strategies at stake in the selfie. This chapter will describe the selfie’s aesthetics. It will define the selfie according to its visual characteristics and the effects produced on its viewer. Thanks to the definition of these visual characteristics, the second chapter will establish an archaeology of the selfie and propose a comparative analysis between the selfie and other media practices that provoke similar visual effects. These visual effects stem from two technological features of the device: its reflexivity (the device functions as a mirror) and its portability. The third chapter will turn to the selfie gesture to underline the fundamental relationality of the practice. This third chapter will discuss the performative aspect of the selfie, and it is the only chapter that will argue that narcissism can and should be applied to an analysis of the selfie. Finally, the last chapter will consider the digital environment in which the selfie is shared, and how the selfie participates in the construction of a new subject. This chapter argues that the selfie is emblematic of a new contemporary subjectivity. It will show how subjectivity is created, negotiated, and performed by the selfie gesture within a broader attention economy.

Keyphrases: Selfie, Narcissism, Archeology, Gesture, Contemporary subjectivity
Sur un cinéma élégiaque : de la preuve à la plainte : le deuil, l'archive, la photographie

This thesis focuses on a contemporary cinema called "elegiac". The elegy, from the ancient Greek elegos, "song of mourning", is nowadays defined, by extension, as a poetic work whose theme is the protest – "elegiac" is therefore the poetic expression of mourning and loss, the use of the term in this case also referring to the motif of the complaint, which it continues to evoke. Two main hypotheses lay the foundations of this research: the first is that this elegiac content is particularly apparent in the suspension of the filmic movement caused by the irruption of photographs and archives; the second, that the expansion of this photographic suspension into contemporary cinema is itself largely dependent on the extension of a historical trend corresponding historically to post-World War II. The elegiac cinema is thus the termination of a course that starts with the staging of the gestures of lamentation, returns to the index paradigm and examines the writings on photography and archives. The first part is dedicated to the elegy, it looks at the history of the genre, the themes of elegiac complaint, mourning and melancholy being declined historically. The second part examines the figures of monumental mourning through the allegorical use of bodies in the staging of gestures of lamentation in the cinema. The third part reviews the break-up of the Second World War, the discovery of the concentration camps and extermination having accused the power of staging. The index destination of the medium then takes the lead in the event that constitutes the vision of the Nazi camps, the index nature of its photographic and filmic images authorizing their double allegiance to the legal framework as well as the memory domain. It is argued that it is precisely this double allegiance that elegiac cinema relies upon, by carrying the archive from the evidence to the complaint. This third part examines this index trend, through the writings of Benjamin, Kracauer and Bazin, and neorealism and the work of Rossellini in particular. The relations of cinema to reality as they were conceived in this context are re-examined. It is in these various senses that we finally try to distinguish the forms and contours of an elegiac cinema in the fourth part, through some works by Artavazd Pelechian, Abbas Kiarostami, Chris Marker and Jean-Luc Godard in particular. One then wonders what is the ground of the complaint in these works, what in them is lost, and how it is expressed – how, therefore, can cinema be the expression of the elegiac protest.

Keyphrases: Archives, Mémoire, Elegy, Mourning, Melancholia, Protest, Proof, Cinema, Photography, Archives, History, Memory
Palimpsestes de la femme nouvelle dans le récit moderniste au féminin : 1900-1940

This research is based on the construction of a modernist imagery of womanhood in the work of eight women writers born in the last third of the 19th century who have been associated with different literary trends or movements: Rachilde (1860-1953), Marcelle Tinayre (1870-1948), Colette (1873-1954), Lucie Delarue-Mardrus (1874-1945), Valentine de Saint-Point (1875-1953), Natalie Barney (1876-1972), Renée Vivien (1877-1909) and Claude Cahun (1894-1954). The texts in the corpus were published in France between 1900 and 1940, a period that saw a growing number of women authors. Since each of these authors followed her own distinct path, the corpus includes authors who are well known today, others who have enjoyed growing interest in recent years, and others who are still unknown today.  Veritable “painters of modern life” during the first decades of the 20th century, observers of a stimulating artistic and literary environment, these authors developed a kaleidoscopic image of a remodelled femininity based on the criteria of “newness”, which will be examined through textual parameters. The literary works revisit the old myths of femininity in order to put forward a new mythology of womanhood. In the context of women figures defying secular models, a few questions arise: What are the main features of the representations of this new kind of femininity in the narratives? How do their points of convergence and divergence manifest themselves? What writing techniques do the authors use to transform traditional imagery into a new modernist imagery of the feminine? In short, this Ph. D. thesis, based on a corpus of literary works published during the first half of the 20th century in France, seeks to highlight the contribution of these women writers to the literary and cultural field of a period open to experimentation, on the one hand, and to reveal a chapter in women’s writing that has been traditionally classified as a cultural anomaly, on the other hand.

Keyphrases: Gender studies, Women’s writing, New Woman, Feminine myths, Gender studies, Literary modernism, New Modernist Studies, Literary and cultural histories, Writing on the First World War, Rewriting
Étude de complexes métalliques d6 à base de ligands tridentés N^N^N et de leurs processus photo-induits inusités

The last thirty years have seen the emergence and evolution of supramolecular chemistry, a branch of chemistry that makes the link between traditional molecular chemistry and the chemistry of macroscopic compounds. The recent crowning of pioneers in supramolecular chemistry by the Nobel Committee, Jean-Pierre Sauvage and James Fraser Stoddart, but highlighting the importance of this news domain. This project is part of a fundamental research approach aimed at developing a chromophore antenna capable of optimally absorbing solar energy, with the aim of transferring it to a reaction center capable of converting light energy into light. chemical energy. The methodology used aims at exploiting various photochemical processes in order to develop discrete supramolecular architectures and to study their optical and electronic properties.

Keyphrases: Chromophores, Self-assembly, Coordination chemistry, Inorganic chemistry
Anomalies du tube neural : mieux comprendre les causes génétiques de cette pathologie complexe

Neural tube defects (NTD) are congenital malformations affecting 1 :1000 births and are caused by incomplete neural tube closure resulting in spinal cord and brain malformations. The most frequent presentations include Anencephaly and Spina Bifida which result from failure of closure of the cranial and spinal regions respectively. The etiology of the disease is complex and include genetic and environmental factors. To this day, ~250 causative genes have been identified in the mouse model and demonstrated the role of the planar cell polarity pathway in the NTD’ etiology. Linkage studies and candidate gene studies of folic acid genes had limited success and a large portion of the genetic etiology of the human pathology remain unknown suggesting the need for novel approaches. Whole exome sequencing combined with de novo variant and massive resequencing methods offer a powerful tool that may lead to a better understanding of the genetic etiology of NTD. Investigation of de novo variants in 43 trios identified 42 coding variants including 6 truncating ones. Of these, 2 truncating variants (p.Tyr392X et p.Leu948fs) were found in the SHROOM3 gene which had previously been associated to NTD in mouse. Statistical enrichment of truncating variants in this gene suggest an association to the human pathology. The high number of truncating variants identified in this cohort also suggest that de novo variants are one of the mechanisms that maintain the high prevalence of this lethal disease in the population. Investigation of transmitted variants using a candidate gene approach in 6 NTD affected family identified a homozygous truncating variant p.Asp16Aspfs*10 in the GRHL3 gene in two NTD affected sisters. GRHL3 is a strong candidate gene previously associated to NTD in mouse. Massive parallel resequencing of 192 sporadic patients and the analysis of the 43 previous trios identified 7 variants with a high pathogenic potential. Statistical analysis of these variants demonstrated a significant enrichment suggesting an association of GRHL3 with human NTD. Functional studies supported these findings through the identification of two loss of function variants (p.Arg391Cys et p.Ala529Val) and a variant affecting RNA splicing (p.Ala318Glyfs*26). The genetic etiology of NTD remain largely unknown. These new genes are essential to identification of new potential pathogenic processes of this disease. These results will help better understand the disease and offer better genetic counseling for the affected families.

Keyphrases: GRHL3, SHROOM3, Neural tube defects, Whole exome sequencing, Complex genetics, De novo mutations
Processus de création et problématiques dans la composition d’un opéra contemporain : El Príncipe Tulicio, opéra de chambre avec dispositif électronique

Historically speaking, Opera is considered by many as the most complex and costliest of the lyrical genre’s tendencies. The opera can impose an enormous machinery, not only from a work’s production viewpoint, but also from the creator’s perspective. In my project of composing an opera, this mechanic is approached under two angles: institutional and compositional. The objective, in the first case, is to guarantee a feasible and simple representation on stage, and in the second case, to define the musical characteristics that will identify the piece within a contemporary aesthetic. For this thesis, I have used my first experience in opera composition with the creation of El Príncipe Tulicio, a total chamber opera with electronics. This opera was conceived according to Gesamtkunstwerk model during the years 2015 and 2016 and has an approximate duration of 59 minutes.  In the body of this thesis, one finds two major parts. Firstly, the opera’s contextualization in the so-called “contemporary” period, of the second half of the 20th century, on which I have based myself to focus my research. And secondly, a partition subdivided in two other sections, presenting different observations and analysis. The first section focuses on three pieces, which were composed during the first part of my doctoral studies. They have served as an incubator and a laboratory for the development of the opera’s ideation. The second section is dedicated to the exclusive analysis of the opera. Here, one is presented with the different problematic inherent to the creative process, followed by the analysis of the formal structure (prologue, four interludes, five acts, and a coda), and its general aspect. Where explanation of my procedures and intrinsic relations between music (instrumental and electroacoustic), literature (Legend and onomatopoeia), and drama (stageplay), is of utmost importance. The analysis mostly exposes the restraints that I have imposed myself during the research, and detailed examples which are part of my creative process. For example, the vocal treatment in a non-traditional manner, and its adaptation to the piece’s character, through a graphic notation on a hybrid score.  Finally, this thesis presents the conclusions drawn from the results and problems experienced during this entire opera’s creation process.

Keyphrases: composer un opéra, composing an opera, contemporary opera, electronic opera, mixed music, contemporary music, contemporary voice
Comparaison des perceptions de progrès et d’utilité d’un programme correctionnel entre les participants et l’intervenant

Few studies have measured the perceptions offenders have of the correctional treatment they receive. For this reason, the role of these perceptions within the risk-needs-responsivity model (Bonta & Andrews, 2017) is still unclear, though perceptions seem to be linked to motivation and engagement in treatment, and in a more general way to responsivity and treatment readiness. The objective of this case study was to compare offenders’ perceptions of usefulness of the correctional program and of progress in the program with the evaluations of progress of the program facilitator, to highlight responsivity factors explaining the concordance or divergence between the perceptions of the two parties. It was observed that only the perceptions of the participants who performed well in treatment corresponded to the evaluations made by the program facilitator. The analysis of the participants’ perceptions emphasized responsivity issues related to the cognitive abilities of the two participants who did not do well in the program. There also seemed to be a lack of convergence between the skills and goals that these participants considered having progressed on in treatment and the goals of the treatment itself. Finally, for one the participants, the shame related to his offenses seemed to affect his capacity to engage in treatment. From a clinical perspective, the responsivity issues highlighted by this case study reiterate the need for a better evaluation and consideration of responsivity factors before and during treatment.

Keyphrases: Perceptions, Engagement, Correctional treatment, Responsivity