Mohammed Dib est une figure importante de la littérature algérienne de langue française; d’une stature incomparable et inégale, il appartient au courant réaliste de la première génération d’auteurs maghrébins engagés, qui renouvelle son écriture après l’indépendance de l’Algérie. L’objet du présent travail, qui s’inscrit dans le cadre du comparatisme, est d’étudier le rapport du texte dibien au modèle, en mettant en place des axes qui permettent de comparer des phénomènes d’écritures appartenant à des époques et des cultures différentes, et ce en confrontant l’écriture dibienne dans son roman Cours sur la rive sauvage et son recueil de nouvelles Le Talisman, avec La Divine Comédie de Dante, Aurélia de Gérard de Nerval et Treize histoires de Faulkner. La lecture plurielle, que nous avons appliquée au corpus, nous a permis d'approcher de manière plus directe l’univers romanesque de Mohammed Dib. La prise en compte de relation intertextuelle constitue pour nous l’outil d’analyse, permettant ainsi une réflexion sur le texte, placé dans une double perspective: relationnelle et transformationnelle précisant les enjeux d’une œuvre polyphonique.Cette étude nous a permis d’analyser les mécanismes par lesquels se traduisent les relations d’influence et de motifs littéraires, en suivant une certaine chronologie: d’abord,par rapport à Faulkner, un des écrivains américains les plus célèbres, ses oeuvres portentun intérêt particulier pour la Terre- Mère, thématique récurrente qui constitue la matrice de l’imaginaire faulknérien. Ensuite par rapport à Nerval, considéré comme l’un des plus importants romanciers du courant romantique français, du XIXème siècle. Enfin, en s’inspirant de Nerval, Dib perpétue une tradition en rapport avec la poétique de Dante, dans sa Divine Comédie, et reprend l’idée que l’écriture est un voyage initiatique. / Mohammed Dib is a special case in the French-language Algerian literature; it is the realists of the first generation of North African writers who renews his writing after the independence of Algeria. The purpose of this work that is part of the comparative report is to study the text to the model by setting up the axes that compare the phenomena of writings belonging to different eras and cultures, and by confronting the dibienne writing in his novel Course on wild shore and his short story collection The Talisman with The Divine Comedy of Dante, Gérard de Nerval Aurelia and Thirteen stories of Faulkner. The plural reading that we have applied to the corpus allowed us to approach more directly the fictional universe of Mohammed Dib. The inclusion of intertextual relationship provides us with the analysis tool, enabling reflection on the text, placed in a double perspective: relational and transformational as well as the challenges of a polyphonic work. This study allowed us to analyze the mechanisms by which the result of influence relations and literary motifs follow a certain timeline. First, compared to Faulkner, one of the most famous American writers ; its working with a particular interest for the earth- mother, the southern United States of America and the history of his country, which is the recurring theme of Faulkner's imaginary matrix. Then over Nerval, considered one of the most important novelists of the French Romantic movement of the nineteenth century. Inspired by Nerval, Dib continues a tradition related to the poetics of Dante, in his Divine Comedy, and takes up the idea that writing is a journey.

Après avoir créé La Cantatrice chauve en 1949, Ionesco n’a pas tardé à apparaître comme une force de renouvellement du théâtre français. S’il se détache progressivement de sa posture agressivement avant-gardiste, il ne renonce pas à faire de sa dramaturgie un objet d’exploration : de l’introduction du rêve sur la scène, à la tentation de l’autobiographie dramatique. Le mouvement de la quête artistique a cependant cohabité avec une immuabilité ontologique, souvent revendiquée par l’auteur lui-même. Les pièces portent les empreintes d’un ressassement qui, dans l’ombre, travaille l’homme. Il se nourrit d’obsessions telles que l’angoisse de la mort, l’effarement devant la violence de ses semblables, la douleur de l’impuissance à ressusciter la lumière de l’enfance. Ionesco a trouvé dans la réécriture un processus créateur susceptible d’embrasser et de dépasser ses contradictions. Depuis La Cantatrice chauve – autoadaptation d’une première version roumaine– jusqu’à son dernier théâtre – conçu à partir d’un récit autofictionnel et de récits de rêve, en passant par la transmodalisation de nouvelles et la reprise de deux chefs-d’œuvre allogènes, Journal de l’Année de la Peste de Daniel Defoe et Macbeth de Shakespeare, Ionesco réécrit, les autres comme lui-même. La reprise textuelle, en ce qu’elle épouse le double mouvement de la pause réflexive et de l’impulsion conquérante, lui a ainsi fourni un précieux outil pour penser et repenser sa dramaturgie. Notre travail s’attache à étudier en diachonie les paradoxes et les prouesses de l’œuvre littéraire à la lumière de cette pratique scripturale. Nous avons cherché à montrer l’influence décisive qu’a eue la réécriture sur l’évolution de la dramaturgie ionescienne. La consultation de ses manuscrits a constitué un outil majeur pour appréhender le travail de répétition de ses réécritures. / After having created The Bald Soprano in 1949, Ionesco soon appears as a force of renewal in French theater. While he progressively moved away from his aggressively avant-gardist stance, he never stopped to use his dramaturgy as an object of exploration, from the introduction of dreams on the stage to the temptation of dramatic autobiography. This dynamics of artistic quest has always been coexistent with an ontological immutability often reasserted by the author himself. His plays bear the imprints of a resifting that constantly if implicitly shapes him, and which feeds on obsessions such as anxiety about death, consternation at human violence, the pain provoked by his inability to resuscitate the light of childhood. Ionesco found in the process of rewriting a creative way to embrace and go beyond his contradictions. From The Bald Soprano – a self-adaptation of a first Romanian version – to his last plays – based on an autofictional story and dream narratives, and including the transmodalisation of short stories and the adaptation of two foreign masterpieces, Journal of a Plague Year by Daniel Defoe and Macbeth by Shakespeare, Ionesco rewrites others and himself. Thus textual repetition, which embraces the double motion of reflexive pause and of conquering impulsion, gave him a precious tool to think and rethink his dramaturgy. Our work diachronically studies the paradoxes and prowesses of his literary work in light of this writing practice. We sought to demonstrate the decisive influence that the process of rewriting had on the evolution of Ionesco’s dramaturgy. The study of his manuscripts has been a major tool for understanding the repetition at work in his rewriting.

Creating and writing fairy tales is a literary exercise that was introduced in the salons of the XVII century. Madame d'Aulnoy and Charles Perrault began to write the fairy tales that became fashionable at the court of King Louis XIV. Despite the simplicity of their narrative patterns, the tales carry messages that affect all readers. First addressed to adults, fairy tales dealt with anxieties, fears and desires of the human being. Little Red Riding Hood is one of the most famous tales in the world. Universally loved, this cautionary tale has experienced much evolution through the centuries. There are some differences between the very bloody oral version and the version of Perrault. A century later, the version of the two German brothers, the brothers Grimm, became the best-known version. But the story’s main rudiments have not changed: the little girl, the wolf, the mother, the grandmother and the forest, these elements have not ceased to inspire the authors up to the present day. Today the rewriting of fairy tales has become an art in its own right. If we look at the market of youth literature, we will find hundreds of tales rewritten and modernized. Writers take advantage of the popularity of these tales that fascinate adults as well as children. Little Red Riding Hood has turned into a story about a little girl with a Little Hood of all colors: navy blue or green. Among a long list of rewritten tales we have chosen to study five. The first tale is taken from the collection entitled Contes à l'envers by Dumas and Moissard: Le Petit Chaperon bleu marine (Little Navy Blue Riding Hood) This tale written in 2009 represents a clear illustration of the transfigured tale. The other four tales we have chosen are written by Geoffroy de Pennart. Through the study of these tales, we shall see how the character of the wolf has changed from the wretched wolf of Perrault. Le loup est revenue (The Wolf Has Returned) published in 1994 presents all the animals of the traditional tales that are afraid of the return of the wolf. Le loup sentimental (The Sentimental Wolf) released in 1998, features several famous characters from the classical tales and creates unexpected links between all these characters. The third tale is Chapeau rond rouge (Red Round Hat) published in 2004; this tale is a parody of the classic tale. Finally Le retour de Chapeau rond rouge (The Return of Red Round Hat) released in 2011 is a contemporary tale that refers to three previous tales: The Little Red Riding Hood, Goldilocks and the Three Bears and Red Round Hat. Through the reading of these five modern tales we can follow the course of the evolution of the tale. This study examines the evolution of the classic tale, its rewriting and intertextual correlations in the tale of Little Red Riding Hood. By analyzing adapted and rewritten modern tales, this research attempts to demonstrate that a rewritten tale is read only in light of the knowledge of the original tale. Inverted, transfigured or mixed, these tales offer the reader a great pleasure. The audience enjoys reading these texts full of humor and references winks compared to the classic tale. The role of heroes is often reversed in modern tales and morality does not remain the same. Thanks to this reading of the second degree of the rewritten tale, children discover and deepen their gaze in regards to the modern world.

More than a decade after becoming a topic of intense research there is no transactional memory hardware nor any examples of software transactional memory use outside the research community. Using software transactional memory in large pieces of software needs copious source code annotations and often means that standard compilers and debuggers can no longer be used. At the same time, overheads associated with software transactional memory fail to motivate programmers to expend the needed effort to use software transactional memory. The only way around the overheads in the case of general unmanaged code is the anticipated availability of hardware support. On the other hand, architects are unwilling to devote power and area budgets in mainstream microprocessors to hardware transactional memory, pointing to transactional memory being a 'niche' programming construct. A deadlock has thus ensued that is blocking transactional memory use and experimentation in the mainstream. This dissertation covers the design and construction of a software transactional memory runtime system called SLE_x86 that can potentially break this deadlock by decoupling transactional memory from programs using it. Unlike most other STM designs, the core design principle is transparency rather than performance. SLE_x86 operates at the level of x86 machine code, thereby becoming immediately applicable to binaries for the popular x86 architecture. The only requirement is that the binary synchronise using known locking constructs or calls such as those in Pthreads or OpenMPlibraries. SLE_x86 provides speculative lock elision (SLE) entirely in software, executing critical sections in the binary using transactional memory. Optionally, the critical sections can also be executed without using transactions by acquiring the protecting lock. The dissertation makes a careful analysis of the impact on performance due to the demands of the x86 memory consistency model and the need to transparently instrument x86 machine code. It shows that both of these problems can be overcome to reach a reasonable level of performance, where transparent software transactional memory can perform better than a lock. SLE_x86 can ensure that programs are ready for transactional memory in any form, without being explicitly written for it.

"La Christiade" de Jean d’Escorbiac, épopée calviniste divisée en cinq livres, n’a pas été rééditée depuis 1613, date de sa publication. Dans le prolongement de la poésie de Du Bartas et proche dans l’inspiration des "Tragiques" d’Agrippa d’Aubigné, le texte propose une réécriture des Évangiles en alexandrins, dans un style où se mêlent les références chrétiennes et profanes. Le travail de ma thèse a consisté a établir un appareil critique (préface, annotations, glossaire, index, index biblique, tableaux synthétiques) dans l’objectif de faciliter l’accès à un ouvrage ancien, parfois difficile d’approche. Par son caractère inédit, cette initiative offre la possibilité à un public élargi de découvrir un auteur qui, pour être méconnu, n’en reste pas moins très riche sur le plan littéraire. / "La Christiade" is an epic poem written by Jean d'Escorbiac, a calvinist from Montauban in the beginning of the 17th century. Inspired by Du Bartas and close from Agrippa d'Aubigné in his "Tragiques", the poem is a biblical rewriting in alexandrines verses which combines christian and pagan references. As the text has never been republished since 1913, we have worked to establish a critical apparatus (annotations, introduction, glossary, index...) in order to make the reading easier for contemporaries. This critical edition of "La Christiade" invites us to update a poem which deserves to be known on many points.

Cette thèse porte sur le discours de cinq poètes chiliennes, ceux qui vivent au sud de ce territoire. Elles montrent une construction de leur identité dans sa poétique, qui traverse leurs corps et leurs mémoires, essayant de déconstruire les mandats historiques, politiques, sociaux et religieux qui ont été inventés pour construire l'identité de la femme. Cette recherche examine l’émergence de le discours poétique féminin, qui comprend la période des années 60 à nos jours, cela puisque c’est dans cette époque que commence une “plus grande” diffusion de la poétique de femmes au Chili, et comment évolue le langage poétique de la femme, les transits vers un nouveau langage: le corps comme auteure, du géodésique au physio- poétique, permettant l'analyse de les différences littéraires existantes dans ce territoire, où la littérature indigéniste joue un rôle prééminent, marquant une littérature de frontières avec la poétique national, pour exorciser les traumatismes du colonialisme. Dans ce cadre, les contributions des “les théories postcoloniales”, et les “études subalternes », m'ont aidé à comprendre et démonter, d’un côté les images stéréotypées construites vers les indigènes, tant idéologies de l'étatisme, et d’un autre côté, découvrez comment se produit « l'abandon » dans cette poétique, a travers de retour au discours naturalisés de la genèse, ce qui nous amène à la réflexion sur l’écriture et la réécriture de la poétique des femmes, qui est marquée par la construction aporétique de « la différence ». / This thesis focuses on the speech of five Chilean poets who live in the South of the territory. They show their identity construction in their Poetics, which runs through their bodies and their memories, trying to deconstruct the historical, political, social and religious mandates that have been invented to build the identity of the woman. This research examines the emergence of the feminine poetic speech, which includes the period from the 1960s to the present day, since it is during this time that a "larger" dissemination of the poetics of women to the Chile begins and how changing the poetic language of the woman, the transits to a new language: the body as the author, the “geodesic to the physic poetic”, the analysis of existing literary differences in this territory, where indigenous literature played a prominent role, scoring a borders with the national poetic literature, to exorcise the trauma of colonialism. In this context, the contributions of "postcolonial theories", and the "subaltern studies", helped me to understand and remove, one side stereotyped images built towards the natives, both ideologies of statism and, on the other hand, discover how 'abandonment' occurs in this poetic, a naturalized return to the speech through the Genesis, which leads to a reflection on the writing and rewriting of the poetics of women", which is marked by the aporetic construction of the 'difference '.

Bien penser la structuration de données est primordial pour obtenir de hautes performances, alors que les processeurs actuels perdent un temps considérable à attendre la complétion de transactions mémoires. En particulier les localités spatiales et temporelles de données doivent être optimisées.Cependant, les transformations de structures de données ne sont pas proprement explorées par les compilateurs, en raison de la difficulté que pose l'évaluation de performance des transformations potentielles. De plus,l'optimisation des structures de données est chronophage, sujette à erreur etles transformations à considérer sont trop nombreuses pour être implémentées à la main dans l'optique de trouver une version de code efficace.On propose de guider les programmeurs à travers le processus de restructuration de données grace à un retour utilisateur approfondi, tout d'abord en donnant une description multidimensionnelle de la structure de donnée initiale, faite par une analyse de traces mémoire issues du binaire de l'application de l'utilisateur, dans le but de localiser des problèmes de stride au niveau instruction, indépendemment du langage d'entrée. On choisit de focaliser notre étude sur les transformations de structure de données, traduisibles dans un formalisme proche du C pour favoriser la compréhension de l'utilisateur, que l'on applique et évalue sur deux cas d'étude qui sont des applications réelles,à savoir une simulation d'ondes cardiaques et une simulation de chromodynamique quantique sur réseau, avec différents jeux d'entrées. La prédiction de performance de différentes transformations est conforme à 5% près aux versions réécrites à la main. / Careful data layout design is crucial for achieving high performance, as nowadays processors waste a considerable amount of time being stalled by memory transactions, and in particular spacial and temporal locality have to be optimized. However, data layout transformations is an area left largely unexplored by state-of-the-art compilers, due to the difficulty to evaluate the possible performance gains of transformations. Moreover, optimizing data layout is time-consuming, error-prone, and layout transformations are too numerous tobe experimented by hand in hope to discover a high performance version. We propose to guide application programmers through data layout restructuring with an extensive feedback, firstly by providing a comprehensive multidimensional description of the initial layout, built via analysis of memory traces collected from the application binary textit {in fine} aiming at pinpointing problematic strides at the instruction level, independently of theinput language. We choose to focus on layout transformations,translatable to C-formalism to aid user understanding, that we apply and assesson case study composed of two representative multithreaded real-lifeapplications, a cardiac wave simulation and lattice QCD simulation, with different inputs and parameters. The performance prediction of different transformations matches (within 5%) with hand-optimized layout code.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Este trabalho apresenta reflexões e sugestões sobre o ensino da escrita a partir de uma experiência desenvolvida na rede pública estadual de Sergipe. Para tanto, aplicou-se uma proposta de intervenção, durante a qual os alunos criaram um blog de fanfictions onde divulgaram e compartilharam seus escritos. O objetivo deste experimento é contribuir com a ampliação da competência escrita dos alunos a partir das atividades de reescrita e da exploração de algumas estratégias de referenciação presentes nos textos produzidos, além de promover a circularidade e o compartilhamento desses escritos no blog. Para a criação do blog, partiu-se das perspectivas do multiletramento, que envolvem a multiplicidade cultural e semiótica da sociedade. As reflexões sobre a língua partiram das teorias dos gêneros do discurso e da escrita como processo, culminando com os estudos sobre a reescrita e a avaliação. O corpus de análise constituiu-se de cinco produções coletivas elaboradas pelos alunos durante as aulas. Os resultados desta análise apontam para a melhoria da escrita dos alunos, decorrente das atividades de reescrita e da exploração de algumas estratégias de referenciação. Constatou-se, ainda, uma participação mais efetiva dos sujeitos em consequência do uso do blog como ambiente de trocas dialógicas e compartilhamento. Desta experiência, resultou como produto um caderno pedagógico, contendo orientações que podem ser ressignificadas em outras realidades educacionais.

Cette étude porte sur l’exploration du processus et du phénomène par lesquels l’identité nationale et culturelle des Caraïbes a été construite. Dans la poursuite de cet objectif, deux poèmes majeurs et une pièce de théâtre dramatique de Derek Walcott seront examinés. La première s’agit de son poème épique créole, Omeros, qui se concentre sur les enjeux de l’identité créole et le concept de l’héros national.Étant donnée que la poésie de Walcott est fortement influencée par sa vie personnelle et en conséquence,par la vie dans son pays natal, l'île de Sainte-Lucie, il paraît indispensable à examiner son poème autobiographique, Another Life, qui est un compte rétrospectif de Walcott et son parcours artistiquejusqu’à l’âge de 33 ans. En outre, puisque Omeros met en parallèle la poésie homérique, cette étude bénéficie également d’une exploration de son autre réécriture de la poésie homérique, The Odyssey : aPlay. Cette étude tente à monter que ces deux réécritures se sont complémentaires : le poème épique antillais est la quête d’identité du point de vue du sujet colonial, tandis que la pièce de théâtre dramatique antillaise est la quête d’identité de la perspective du colonisateur. L’étude de la poésie et des pièces de théâtre dramatiques de Walcott nous aident à percevoir les façons dont le poète antillais tente à déconstruire l’importance de la tradition littéraire occidentale à travers la réécriture de la poésie homérique. Cette tradition perpétue l’opposition binaire de supériorité/infériorité qui joue un rôle déterminant dans la construction de l’identité d’un individu. En déplaçant les personnages et la littérature de Saint Lucie de leur emplacement dans les marges vers le centre, Walcott décentre la poésie homérique, et la littérature occidentale. Créolisation, Colonialisme, Postcolonialisme,Déconstruction, Poésie homérique, Histoire, Mémoire, Réécriture / This thesis seeks to explore the process and phenomenon through which Caribbean national and cultural identity has been constructed. In order to achieve this goal, two of Derek Walcott’s major poems and one of his dramas have been chosen. The first is his Creole epic poem, Omeros, which concentrates on the issues of Creole identity and the concept of national hero. Since Walcott’s poetry is highly influenced by his personal life and consequently life in his homeland, the island of Saint Lucia, it seems indispensable to study his autobiographical poem, Another Life, which is Walcott’s retrospective review of his artistic journey until the age of 33. Moreover, since Omeros draws parallelswith Homeric epics, it seems highly beneficial to this study to include his other rewriting of Homericepics, The Odyssey : a Play. This study makes an effort to show that these two rewritings are complementary to each other: the West Indian epic poem is the quest for identity seen from the point of view of the colonized subject, whereas the West Indian stage drama is the quest for identity from the colonizer’s perspective. Studying Walcott’s poetry and dramas helps one perceive the ways in which the West Indian poet makes an effort to deconstruct the importance of the Western literary tradition through rewriting the Homeric epics. This tradition perpetuates the binary opposition of superiority/inferiority which plays a seminal role in the construction of individual identity. By displacing the Saint Lucian characters and literature from their place in the margins to the center, Walcott decenters the Homeric epics, and Western literature. Creolisation, Colonialism, Postcolonialism,Deconstruction, , History, Memory, Rewriting

Quand en 2006, Camille de Peretti, la jeune écrivaine de vingt-six ans, décide de donner une nouvelle version d’un livre qui date, elle remonte loin dans le temps : deux-cent-vingt-quatre ans précisément. Elle opte pour Les Liaisons dangereuses de Choderlos de Laclos, roman épistolaire paru en 1782. Les Liaisons se caractérisent par l’ambiguïté aujourd’hui encore présente de leur enseignement moral ; et surtout par la justesse analytique dont est doté leur auteur lors de la peinture du mal. Elles sont une décomposition détaillée des stratégies de la perversion en leurs techniques efficaces par surcroît. C. de Peretti puise, dans le palimpseste, ses intrigues d’amour couplées à la vengeance, ainsi que les stratégies érudites de séduction. Elle prend possession de l’œuvre source pour créer son œuvre. Elle fait mieux : elle dialogue, par là-même, avec l’écrivain originel. La communion intellectuelle est telle que l’écrivain et la récrivaine écriraient à quatre mains le même ouvrage si la possibilité leur en était donnée [...] / When in 2006, Camille de Peretti, the twenty-six-year-old young writer, decides to give a new version of an old novel, she goes far back in time : two hundred and twenty-four years ago. She opted for The Dangerous Liaisons by Choderlos de Laclos, an epistolary novel issued in 1782.The Liaisons are characterized by the ambiguity still present today of their moral teaching; and above all by the analytical accuracy with which the author is endowed when depicting evil. In addition, they are a detailed decomposition of the strategies of perversion in their efficient techniques.C. de Peretti draws, in the palimpsest, its love intrigues coupled with vengeance, as well as the erudite strategies of seduction. She takes possession of the source work to create her own. She does better : she dialogues, in this way, with the original writer. The intellectual communion is such that the writer and the rewriter would write the same work in four hands if given the opportunity [...]