Dans le domaine de l'ingénierie du logiciel, les systèmes de types sont souvent considérés pour la prévention de l'occurrence de termes dénués de sens par rapport à une spécification des types. Dans le cadre de l'extension d'un langage de programmation avec des caractéristiques dédiées, le typage de ces dernières doit être compatible avec les caractéristiques du langage hôte. Cette thèse se situe dans le contexte de la réécriture de termes embarquée dans la programmation orientée objet. Elle vise à développer un système de types avec sous-typage pour le support du filtrage de motifs associatif sur des termes algébriques construits sur des opérateurs variadiques. Ce travail s'appuie sur le langage de réécriture Tom qui fournit des constructions de filtrage de motifs et des stratégies de réécriture à des langages généralistes comme Java. Nous décrivons l'évaluation de code Tom à travers la définition de la sémantique opérationnelle de ce langage en tant qu'élément essentiel de la preuve de la sûreté du système de types. Celui-ci inclut la vérification de types ainsi que l'inférence de types à base de contraintes. Le langage de contraintes est composé d'une part, de contraintes d'égalité, résolues par unification, d'autre part, de contraintes de sous-typage, résolues par la combinaison de phases de simplification, de génération d'une solution et de ramassage de miettes. Le système de types a été intégré au langage Tom, ce qui permet une plus forte expressivité et plus de sûreté a fin d'assurer que les transformations décrites par des règles de réécriture préservent le type des termes / In software engineering, type systems are often considered in order to prevent the occurrence of meaningless terms in regard to a type specification. When extending a given programming language with new dedicated features, the typing of these features must be compatible with the ones in the host language. This thesis is situated in the context of term rewriting embedded in object-oriented programming and aims to develop a safe type system featuring subtyping for the support of associative pattern matching on algebraic terms built from variadic operators. In this work we consider the Tom rewriting language that provides associative pattern matching constructs and rewrite strategies for Java. We describe Tom code evaluation through the definition of the operational semantics of the Tom language as an essential element to show that the type system is safe. The type system includes type checking and constraint-based type inference. The constraint language is composed of equality constraints solved by unification and subtyping constraints solved by a combination of simplification, generation of solution and garbage collecting. The type system was integrated in Tom which provides both stronger expressiveness and more safety able to ensure that the transformations described by rewrite rules preserve the type of terms

Esta tese é dedicada ao estudo de processos composicionais que se desencadeiam a partir de obras musicais preexistentes e acabadas. Dentre a enorme variedade de possíveis abordagens criativas a materiais musicais preexistentes, o presente estudo se volta para o que, a exemplo de Berio, denominamos comentário composicional: processos que se caracterizam, grosso modo, por operações de cunho intrínseco, isto é, que buscam desdobrar uma obra preexistente através da exploração de potencialidades latentes na própria obra e nos processos formativos que lhe são inerentes. Para tanto, nossa abordagem orienta-se por uma dupla pergunta de faces complementares: pela abertura que (a) se pode reconhecer nas obras (em suas dobras) e que (b) emerge por meio de novos processos (nas redobras e desdobras). A fim de investigar de forma ampla as condições para que uma obra musical já consolidada possa vir a ser tomada como ponto de partida - e como objetoproblema - para um nova composição, a primeira etapa de nossa exposição - capítulo I - busca examinar um princípio de abertura composicional. Conforme a hipótese que assumimos, tal abertura seria imanente às obras e apreensível na forma de um excedente de potencialidades criativas que emerge do inacabamento e da não-univocidade dos processos que as formaram. As noções de atual e virtual elaboradas por Deleuze e o circuito dinâmico - de virtualizações e reatualizações - no qual elas interagem, servirão como chave conceitual que auxiliará o exame deste principio de abertura intrínseca em peças de autores diversos, entre eles Pergolesi, Bach, Schumann, Stravinsky, Berio e Andriessen. Os capítulos II e III se voltam para duas modalidades de reelaboração de obras preexistentes que, de modos distintos, acionam a tensão entre o acabamento da obra e o inacabamento de seus processos. No capítulo II, nos debruçamos sobre a prática da transcrição a fim de interrogar em que medida a operação básica que a caracteriza, a saber, a reconstrução de uma peça em um meio instrumental distinto daquele para o qual fora anteriormente concebida, pode implicar uma intervenção em níveis processuais, acessando e refazendo dimensões formativas da obra original. À luz das reflexões estéticas de Lévi-Strauss - em especial da noção de modelo reduzido -, e a partir da análise de transcrições de Bach, Stravinsky, Webern, Messiaen, Sciarrino e Kurtág, propomos que a transcrição possa ser entendida como um processo de reatualização, que traz à tona dimensões que se mantinham latentes na versão original e assegura o caráter composicionalmente aberto das obras. No capítulo III, examinamos uma variedade de exemplos - de Monteverdi aos Chemins de Berio - em que uma obra preexistente, tomada como objeto de um comentário composicional, é integralmente conservada em meio à expansão de seu efetivo instrumental e/ou o desdobramento, \'em tempo real\' e in loco, de seus processos formativos. O objetivo geral deste trabalho é fundamentar teoricamente, com base em uma diversidade de exemplos de diferentes períodos históricos, uma prática composicional que se desenvolva como um modo de reflexão explícita e direta sobre obras e processos musicais preexistentes. Ao final, complementamos este percurso relatando um conjunto de estratégias de comentário desenvolvidas em nossa própria prática composicional. / This thesis investigates compositional processes that are triggered out from preexisting and finished musical works. Among the wide variety of possible creative approaches to preexisting musical materials, the current study is interested in the practice of compositional commentary (as originally named by Luciano Berio): processes which are distinguished for operating intrinsically upon the work from which they stem, i.e., by endeavoring to unfold a preexisting work through the exploration of latent potentialities in the work itself and its inherent formative processes. For this, our approach is oriented by a twofold investigation of (a) the openness that can be identified within the works (on its folds), as well as (b) the openness that emerges by means of new compositional processes (through its refolding and unfolding). In order to widely investigate the conditions required for a preexisting musical work to be taken as the starting point - and as a problematic object - to a new composition, we initiate our exposition (Chapter I) by examining a principle of compositional openness which, accordingly to our hypothesis, would be immanent in the works and apprehensible as a surplus of potentialities that emerges from the incompleteness and the non-univocity of its inherent formative processes. The notions of actual and virtual as elaborated by Deleuze and the dynamic circuit of virtualization and re-actualization in which they interact are taken as a conceptual key for the examination of this principle of intrinsic openness in pieces by several composers, including Pergolesi, J.S. Bach, Schumann, Stravinsky, Berio and Andriessen. Chapters II and III are respectively focused on two modalities of reworking of preexisting works which activate in their own peculiar ways the tension between the completeness of the work and the incompleteness of the composition (i. e., of the compositional process). In Chapter II, we approach the practice of transcription in order to investigate to what extent its basic operation (namely, the reconstruction of a musical piece in a different instrumental medium) entails a compositional intromission which brings to question the completeness of the work by reactivating its incompleteness. Through the notion of reduced model elaborated by the anthropologist Lévi-Strauss, and based the analysis of transcriptions by J.S. Bach, Stravinsky, Webern, Messiaen, Sciarrino and Kurtág, we propose that transcription may be understood as a process of re-actualization, which brings up aspects which remained latent within the original version and thus assures its compositional openness. In Chapter III, we examine a variety of examples - including, among other works, a couple madrigals by Monteverdi as well as a few of Berio\'s Chemins - in which a preexisting work, taken as the object for a compositional commentary, is fully conserved within an expanded ensemble and/or amidst the unfolding of its formative processes. The general aim of this research is to provide theoretical ground - supported by musical examples from different historical periods - to a compositional practice which consists in an explicit and direct form of reflection on preexisting works and musical processes. At last we report a set of commentary strategies developed in our own compositional practice.

Cette étude analyse la place que les femmes occupent au cœur du phénomène de résurgence que le mythe arthurien va connaître à partir de la seconde moitié du XXe siècle. A l'origine de cette résurgence, nous évoquons l'influence considérable du Seigneur des Anneaux de J.R.R. Tolkien et nous établissons un parallèle entre cet ouvrage et la légende arthurienne.Nous analysons ensuite des réécritures arthuriennes d'auteures féminines et contemporaines, d'origine française, anglaise ou américaine. D'une part, nous nous penchons sur les œuvres qui restent proches de la tradition arthurienne ; d'autre part sur celles qui sont en rupture avec cette tradition.Enfin, nous étudions les similitudes et les divergences entre les réécritures proposées par des femmes et celles de leurs homologues masculins. Nous abordons évidemment la question du féminisme et celle de la féminisation d'une matière essentiellement masculine à l'origine. Différents points liés à la question féminine seront alors abordés, comme la littérature de jeunesse, le recours aux sciences, le rôle des religions et la figure de la femme tentatrice développée par les auteurs masculins, en opposition à la valorisation du corps féminin dans les œuvres de femmes.Ce travail de comparaison entre des réécritures masculines et féminines du mythe d'Arthur a pour but de déterminer la place que les femmes ont su prendre dans la résurgence de cette légende, mais aussi de s'interroger sur la pertinence d'une sexuation systématique de l'écriture des mythes. / This study analyses women's place in the resurgence phenomenon that the Arthurian myth has known from the second part of the twentieth century onwards. At the root of this resurgence, we mention the significant influence of The Lord of the Rings by J.R.R. Tolkien and we parallel this novel with the Arthurian legend.Then, we analyse Arthurian rewriting by female French, English or American contemporary authors. On the one hand, we look into works which stay close to the Arthurian tradition; on the other hand, into those which are at odds with this tradition.Finally, we study similarities and divergences between rewritings offered by women and the ones of their male counterparts. We obviously deal with the feminism issue and the one of the feminisation of an essentially and originally masculine topic.Different points related to the feminine question are then tackled, like youth literature, the resort to sciences, the role of religions, and the case of the temptress developed by male authors, in opposition to the valorisation of the feminine body in women's novels.This comparative work between masculine and feminine rewritings of the Arthurian myth aims at determining the place that women have managed to take in the resurgence of this legend and also to question the significance of the systematic sexuation in the myth writings.

With the advent of XML, great challenges arise from the demand for efficiently retrieving information from remote XML sources across the Internet. The semantic caching technology can help to improve the efficiency of XML query processing in the Web environment. Different from the traditional tuple or page-based caching systems, semantic caching systems exploit the idea of reusing cached query results to answer new queries based on the query containment and rewriting techniques. Fundamental results on the containment of relational queries have been established. In the XML setting, the containment problem remains unexplored for comprehensive XML query languages such as XQuery, and little has been studied with respect to the cache management issue such as replacement. Hence, this dissertation addresses two issues fundamental to building an XQuery-based semantic caching system: XQuery containment and rewriting, and an effective replacement strategy. We first define a restricted XQuery fragment for which the containment problem is tackled. For two given queries $Q1$ and $Q2$, a preprocessing step including variable minimization and query normalization is taken to transform them into a normal form. Then two tree structures are constructed for respectively representing the pattern matching and result construction components of the query semantics. Based on the tree structures, query containment is reduced to tree homomorphism, with some specific mapping conditions. Important notations and theorems are also presented to support our XQuery containment and rewriting approaches. For the cache replacement, we propose a fine-grained replacement strategy based on the detailed user access statistics recorded on the internal XML view structure. As a result, less frequently used XML view fragments are replaced to achieve a better utilization of the cache space. Finally, we has implemented a semantic caching system called ACE-XQ to realize the proposed techniques. Case studies are conducted to confirm the correctness of our XQuery containment and rewriting approaches by comparing the query results produced by utilizing ACE-XQ against those by the remote XQuery engine. Experimental studies show that the query performance is significantly improved by adopting ACE-XQ, and that our partial replacement helps to enhance the cache hits and utilization comparing to the traditional total replacement.

Esta tese é dedicada ao estudo de processos composicionais que se desencadeiam a partir de obras musicais preexistentes e acabadas. Dentre a enorme variedade de possíveis abordagens criativas a materiais musicais preexistentes, o presente estudo se volta para o que, a exemplo de Berio, denominamos comentário composicional: processos que se caracterizam, grosso modo, por operações de cunho intrínseco, isto é, que buscam desdobrar uma obra preexistente através da exploração de potencialidades latentes na própria obra e nos processos formativos que lhe são inerentes. Para tanto, nossa abordagem orienta-se por uma dupla pergunta de faces complementares: pela abertura que (a) se pode reconhecer nas obras (em suas dobras) e que (b) emerge por meio de novos processos (nas redobras e desdobras). A fim de investigar de forma ampla as condições para que uma obra musical já consolidada possa vir a ser tomada como ponto de partida - e como objetoproblema - para um nova composição, a primeira etapa de nossa exposição - capítulo I - busca examinar um princípio de abertura composicional. Conforme a hipótese que assumimos, tal abertura seria imanente às obras e apreensível na forma de um excedente de potencialidades criativas que emerge do inacabamento e da não-univocidade dos processos que as formaram. As noções de atual e virtual elaboradas por Deleuze e o circuito dinâmico - de virtualizações e reatualizações - no qual elas interagem, servirão como chave conceitual que auxiliará o exame deste principio de abertura intrínseca em peças de autores diversos, entre eles Pergolesi, Bach, Schumann, Stravinsky, Berio e Andriessen. Os capítulos II e III se voltam para duas modalidades de reelaboração de obras preexistentes que, de modos distintos, acionam a tensão entre o acabamento da obra e o inacabamento de seus processos. No capítulo II, nos debruçamos sobre a prática da transcrição a fim de interrogar em que medida a operação básica que a caracteriza, a saber, a reconstrução de uma peça em um meio instrumental distinto daquele para o qual fora anteriormente concebida, pode implicar uma intervenção em níveis processuais, acessando e refazendo dimensões formativas da obra original. À luz das reflexões estéticas de Lévi-Strauss - em especial da noção de modelo reduzido -, e a partir da análise de transcrições de Bach, Stravinsky, Webern, Messiaen, Sciarrino e Kurtág, propomos que a transcrição possa ser entendida como um processo de reatualização, que traz à tona dimensões que se mantinham latentes na versão original e assegura o caráter composicionalmente aberto das obras. No capítulo III, examinamos uma variedade de exemplos - de Monteverdi aos Chemins de Berio - em que uma obra preexistente, tomada como objeto de um comentário composicional, é integralmente conservada em meio à expansão de seu efetivo instrumental e/ou o desdobramento, \'em tempo real\' e in loco, de seus processos formativos. O objetivo geral deste trabalho é fundamentar teoricamente, com base em uma diversidade de exemplos de diferentes períodos históricos, uma prática composicional que se desenvolva como um modo de reflexão explícita e direta sobre obras e processos musicais preexistentes. Ao final, complementamos este percurso relatando um conjunto de estratégias de comentário desenvolvidas em nossa própria prática composicional. / This thesis investigates compositional processes that are triggered out from preexisting and finished musical works. Among the wide variety of possible creative approaches to preexisting musical materials, the current study is interested in the practice of compositional commentary (as originally named by Luciano Berio): processes which are distinguished for operating intrinsically upon the work from which they stem, i.e., by endeavoring to unfold a preexisting work through the exploration of latent potentialities in the work itself and its inherent formative processes. For this, our approach is oriented by a twofold investigation of (a) the openness that can be identified within the works (on its folds), as well as (b) the openness that emerges by means of new compositional processes (through its refolding and unfolding). In order to widely investigate the conditions required for a preexisting musical work to be taken as the starting point - and as a problematic object - to a new composition, we initiate our exposition (Chapter I) by examining a principle of compositional openness which, accordingly to our hypothesis, would be immanent in the works and apprehensible as a surplus of potentialities that emerges from the incompleteness and the non-univocity of its inherent formative processes. The notions of actual and virtual as elaborated by Deleuze and the dynamic circuit of virtualization and re-actualization in which they interact are taken as a conceptual key for the examination of this principle of intrinsic openness in pieces by several composers, including Pergolesi, J.S. Bach, Schumann, Stravinsky, Berio and Andriessen. Chapters II and III are respectively focused on two modalities of reworking of preexisting works which activate in their own peculiar ways the tension between the completeness of the work and the incompleteness of the composition (i. e., of the compositional process). In Chapter II, we approach the practice of transcription in order to investigate to what extent its basic operation (namely, the reconstruction of a musical piece in a different instrumental medium) entails a compositional intromission which brings to question the completeness of the work by reactivating its incompleteness. Through the notion of reduced model elaborated by the anthropologist Lévi-Strauss, and based the analysis of transcriptions by J.S. Bach, Stravinsky, Webern, Messiaen, Sciarrino and Kurtág, we propose that transcription may be understood as a process of re-actualization, which brings up aspects which remained latent within the original version and thus assures its compositional openness. In Chapter III, we examine a variety of examples - including, among other works, a couple madrigals by Monteverdi as well as a few of Berio\'s Chemins - in which a preexisting work, taken as the object for a compositional commentary, is fully conserved within an expanded ensemble and/or amidst the unfolding of its formative processes. The general aim of this research is to provide theoretical ground - supported by musical examples from different historical periods - to a compositional practice which consists in an explicit and direct form of reflection on preexisting works and musical processes. At last we report a set of commentary strategies developed in our own compositional practice.

Lʼobjectif de cette étude est de saisir le but dʼun discours hagiographique, en fondant lʼanalyse sur la tradition, lʼauteur, le style et le public de certains textes de l'Antiquité tardive. Les auteurs de ces textes, écrits en prose grecque et illustrés par lʼÉloge de Saint Anastase de Georges de Pisidie, suivaient les préceptes de la rhétorique et réélaboraient les canons de la littérature hagiographique. La thèse est divisée en cinq chapitres. Le premier trace une histoire de la réécriture et montre lʼévolution de la technique paraphrastique entre le sixième et le septième siècle après J.-C. Lʼanalyse se prolonge jusqu'aux soixante-dix Miracles de Cyr et Jean par Sophrone de Jérusalem et à lʼÉloge de Saint Anastase par Georges de Pisidie, une métaphrase des actes du martyre, dont le but était de propager les victoires de lʼEmpire chrétien contre la Perse. Dès le deuxième chapitre, lʼattention se concentre uniquement sur lʼÉloge, dont une première traduction italienne est proposée. Le troisième chapitre traite de la diffusion du culte de Saint Anastase après son martyre, advenu le 22 janvier 628 après J.-C. Le quatrième chapitre se focalise sur la technique utilisée par Georges pour réécrire les actes du martyre de Saint Anastase. Le dernier chapitre analyse la structure de lʼÉloge, en essayant de montrer les points où la prose de Georges suit les préceptes de la rhétorique ancienne tardive. Ce travail espère ainsi souligner lʼimportance de lʼÉloge dans la production panégyrique de Georges, dans le contexte de lʼhistoire littéraire du septième siècle après J.-C. et, plus généralement, de lʼAntiquité tardive. / The aim of the thesis is to understand the purpose of an hagiographic discourse, basing the analysis on the tradition, the author, the style and the public of certain texts. These texts (exemplified by the Encomium of Saint Anastasius by George of Pisidia) were written in Greek prose during the period of Late Antiquity and Early Byzantium. Their authors increasingly tended to follow the precepts of rhetoric and to rework the canons of hagiographic literature. The thesis is divided into five chapters. The first traces the history of rewriting and shows the evolution of the paraphrastic technique between the sixth and seventh centuries AD. The analysis extends up to the seventy Miracles of Cyrus and John by Sophronius of Jerusalem and to the Encomium of Saint Anastasius by George of Pisidia, a metaphrase of the acts of martyrdom, whose aim was to propagate the victories of the Christian Empire against Persia. From the second chapter, the attention is focused only on the Encomium, of which is offered a first Italian translation. The third chapter is a discussion on the spread of the cult of Saint Anastasius, after his martyrdom on January 22, 628 AD. The fourth chapter focuses on the technique used by George to rewrite the acts of the martyrdom of Saint Anastasius. The last chapter analyzes the structure of the Encomium, trying to highlight the points where the prose of George seems to follow more closely the dictates of late antique rhetoric. It is hoped with this to emphasize the importance of a text as the Encomium, within the panegyric production of George of Pisidia, but also the literary history of the seventh century AD and, more generally, of Late Antiquity.

Lire la poésie de Pétrarque sous l'angle de la métamorphose est en soi une approche originale, d’autant plus que la métamorphose s'y présente sous de multiples formes : élément narratif explicite, transformation implicite par la métaphore, allusion à des mythes ovidiens, mutatio extérieure et intérieure des personnages de la fabula lyrique autobiographique, transformation des textes et de la poétique de l'auteur au fil du passage du temps, lui-même métamorphosant. Cette thèse aborde la poétique de Pétrarque en-dehors des sentiers battus, en étudiant d'abord la tradition médiévale des commentaires allégoriques des trois mythes ovidiens, Daphné, Méduse, Narcisse, qui sont fondamentaux dans les Rerum Vulgarium Fragmenta, afin de déterminer ensuite les points de contact ou de divergence avec les poésies du livre. C’est également par une démarche nouvelle que ces trois mythes principaux, auxquels s'ajoutent des fables secondaires, sont appréhendés d’après la chronologie réelle de l'écriture et ses interférences avec la construction progressive du livre-canzoniere. La thématique métamorphique d’ascendance ovidienne est ainsi confrontée à la problématique de la mutatio animi augustinienne. Enfin, la double présence des mythes métamorphiques et de la métamorphose comme réécriture, autobiographique ou métapoétique, est élargie aux Triomphes et à la poésie latine (Epystole, Africa, Bucolicum Carmen), jamais étudiés dans cette perspective. / Reading Petrarch's poetry from the angle of metamorphosis is in itself an original approach, all the more since metamorphosis takes there many different forms : a narrative explicit component, implicit transformation by metaphor, allusion to ovidian myths, external and internal mutatio of the characters of the lyric and autobiographical fabula, transformation of the texts and the author's poetics with the passing of time, which has itself a metamorphosing action. This thesis approaches Petrarch's poetics geting off the beaten paths, by studying first the medieval tradition of allegorical commentaries, particularly those concerning three ovidian myths, Daphne, Medusa, Narcissus, which are fundamental in the Rerum Vulgarium Fragmenta, with the purpose to determine then common features and divergences with the poems of the book. These three main myths, completed by secondary fables, are also studied by means of a new method, that is according to the chronology of writing and its implications with the progressive construction of the canzoniere. The metamorphic theme, of ovidian origin, is in this way confronted to the problematic of the augustinian mutatio animi. Lastly, the double presence of metamorphic myths and of metamorphosis as rewriting, autobiographical or metapoetical, is extended to the Triumphs and to latin poetry (Epystole, Africa, Bucolicum Carmen), never analysed from that viewpoint.

Made available in DSpace on 2016-03-15T19:46:50Z (GMT). No. of bitstreams: 1 Micaela Deyust dos Santos Pincinato.pdf: 614922 bytes, checksum: e79dec7b44c5db88dcba87f19082dc39 (MD5) Previous issue date: 2006-08-30 / Nowadays, the work with the written word in school follows a methodology and searches overshot conceptions of teaching-learning and, therefore, the results reached in composition classes seem to be different from the expected ones: that the student may organize a proficient, organized and united written text. Experience in classroom enhances the reflection that teacher must have according to teaching of student s texts production practice. Such reflexive action allows us, teachers, to improve native language and our interference in student s written process. One of these interferences concerns to the work this researcher makes with drafts written by students of 2nd and 3rd grades of High School level in a private school in Jundiaí SP. The drafts show the experience students get in their written learning. Moreover, drafts show worries about linguistics unquietness and the ways they choose in the rewriting of a text which must be coherent and concise. The methodology used provides both, teacher and student, an interactive work whose changing of texts / drafts among students in classroom is constant and followed by the teacher who explains such drafts until the final text. Some results can be deducted from this work. When we analyse the student s draft and final text, we notice that not always their immediate worry concerns to corrections of orthography and punctuation. Later, when the teacher interferes on the draft, with observations related specially to the text organization and cohesion, students show to be worried about the ideas and clauses chaining: final product evidences the choices the student makes to keep coherent his thinking organization by the writing. / Atualmente, o trabalho com a palavra escrita na escola segue uma metodologia e explora concepções ultrapassadas de ensino-aprendizagem e, por isso, parecem ser os resultados alcançados nas aulas de redação diferentes daqueles esperados: que o aluno consiga produzir um texto escrito de forma proficiente, organizada e coesa. A vivência na sala de aula intensifica a reflexão que o professor deve fazer quanto ao ensino da prática de produção de textos dos alunos. Tal ato reflexivo permite a nós, professores, aprimorar nossa própria prática de ensino de redação em língua materna e nossa interferência no processo de escrita do aluno. Uma dessas interferências diz respeito ao trabalho que esta pesquisadora faz com os rascunhos elaborados pelos estudantes de 2ª e 3ª séries do Ensino Médio em uma escola particular de Jundiaí-SP. Estes rascunhos mostram a maturidade que os jovens adquirem em sua aprendizagem de escrita. Além disso, evidenciam as preocupações deles quanto às suas inquietações lingüísticas e os caminhos escolhidos na reescritura de um texto que se quer coerente e coeso. A metodologia utilizada proporciona, ao professor e ao aluno, um trabalho interativo, cuja troca de textos/rascunhos entre os alunos em sala de aula é constante e acompanhada pelo professor que comenta tais rascunhos até o texto final. Alguns resultados podem ser extraídos deste trabalho. Ao analisarmos o rascunho e texto final dos alunos, percebemos que nem sempre a preocupação imediata deles diz respeito às correções ortográficas e de pontuação. Posteriormente, à medida que o interfere no rascunho, cujas observações referem-se especialmente à organização do texto e coesão, os estudantes demonstram preocupar-se muito mais com o encadeamento das idéias o produto final evidencia as escolhas que o jovem faz para manter coerente a organização de seu pensamento pela escrita.

Este trabalho tem como preocupação primeira investigar a formação de futuros professores de português no que se refere ao trabalho com a escrita. Seu principal objetivo é analisar, a partir de uma abordagem discursiva ancorada, sobretudo, nos pressupostos teóricos da Análise do Discurso de linha francesa (AD), o processo de reescrita textual, particularmente daquela reescrita que se circunscreve a situações tipicamente escolares, ou seja, informada pela intervenção de natureza didática em que o professor - ou alguém que assume tal posição - propõe a atividade de reelaboração textual. O corpus é formado por textos que correspondem às respostas fornecidas por formandos em Letras a uma das questões discursivas de Lingüística e Língua Portuguesa solicitada, no ano de 2001, pelo Exame Nacional de Cursos (ENC) - o Provão, atual ENADE. Nessa questão, solicitou-se aos formandos que, com o apoio de noções lingüísticas, apresentassem três soluções para o problema dos elos coesivos presente em um texto originalmente produzido por uma menina de 10 anos. Desse contexto é que surgiu uma das formas de resposta dos formandos à solicitação do Exame: a reescrita como forma de correção daquilo que foi identificado pelos escreventes como \'erro\'. Foram utilizados dois procedimentos de análise: a) a consideração das relações dialógicas estabelecidas entre os formandos e o textobase, a qual resultou em um tipo de intervenção eminentemente resolutiva dos supostos \'problemas\' apresentados pela produção da menina; e b) a busca das operações lingüísticas presentes nos processos de reescrita textual. Em razão das condições em que se produziram, mas também em função do apagamento de aspectos discursivos apreensíveis nos efeitos de sentido existentes no texto reescrito pelos formandos (para além, portanto, dos objetivos inicialmente colocados pelo Provão), as reescritas analisadas resultaram em textos menos expressivos se comparados com aquele que lhes serviu como pontos de partida. Tal constatação, evidenciada nas análises, aponta para o fato de que todo processo de reescrita tenderá ao fracasso, se tão-somente vinculado a questões de ordem lingüística, uma vez que, determinantes da expressividade de todo e qualquer texto, são também os aspectos relativos aos efeitos de sentido e às condições em que um dado discurso se produz. / This research\'s first concern is to investigate the formation of future Portuguese teachers, regarding work with writing. Its main objective is to analyze, starting from a discursive approach anchored especially on the theoretical assumptions of the French Discourse Analysis (DA), the processes of textual writing, particularly rewriting involved in typical school situations, i.e., informed by the intervention of a didactic nature in which the teacher - or someone assuming this position - proposes the activity of textual rewriting. The corpus is formed by texts which correspond to the answers given by Language & Literature students to one of the discursive questions of Linguistic and Portuguese Language requested by the National Course Exam (ENC) in 2001, the so-called \"Provão\", currently ENADE. In this question, with the support of linguistic notions, the students were requested to present three solutions for the problem of cohesive links present in a text originally produced by a 10-year old girl. This context generated one of the students\' answers to the Exam\'s request: rewriting as a form to correct what had been identified by the students as a \"mistake\". Two analytical procedures have been used: a) the consideration of the dialogic relations established among the students and the base-text, which resulted in a type of intervention mainly resolutive of the supposed \'problems\' presented by the girl\'s production; and b) the search for the linguistic operations present in the textual rewriting processes. Due to the conditions in which they were produced, but also due to the erasure of discursive aspects noted in the meaning effects existing in the text rewritten by the college students (therefore, beyond the objectives initially presented by the ENADE), the analyzed rewriting resulted in less expressive texts in comparison to that used as their starting point. This realization, shown in the analyses, indicate the fact that all rewriting processes will tend to fail, if only linked to linguistic issues, as the aspects related to the meaning effects and the conditions in which a certain discourse is produced are also determinants of the expressiveness of any text.

L’objet du présent travail doctoral porte sur la relation intertextuelle sous-jacente aux récits de l’écrivain colombien, Juan Gabriel Vásquez, qui s’informe et enquête sur l’histoire de son pays pour remonter le passé et, par-là, proposer de nouvelles lectures de l’histoire officielle, de ses incertitudes et de la révélation de secrets sur quelques-uns des faits qui ont marqué les avancées et les reculs de la Colombie. En conséquence, cette recherche étudie et analyse cette relation à partir de la transtextualité, catégorie théorique exposée par Gérard Genette, afin de raisonner en profondeur sur les idéologies représentées dans les nouvelles « officielles » de cet auteur et sur l’affleurement de la mémoire historique, ainsi que sur d’autres récits autour desquels émergent des expériences propres et d’autrui, et même des éléments inattendus, susceptibles d’enclencher de nouvelles recherches. Juan Gabriel Vásquez ourdit ses romans à partir d’un amalgame d’idéologies comme la politique, la violence, l’histoire officielle, le legs culturel et l’histoire littéraire de la Colombie, ce avec quoi il recrée un devenir significatif et identitaire de l’histoire de la Colombie, contribuant ainsi à la construction scénique du pays, fragmentée et décomposée en plusieurs périodes de développement par l’application de fausses idées de croissance et de pacification qui n’ont jamais eu lieu. La recherche fournit un apport aux études littéraires de la Nation et sur l’écrivain colombien qui, peu à peu, est reconnu dans le domaine littéraire international. / The focus of this this doctoral work is to study the intertextual relationship, in the narrative of the Colombian writer, Juan Gabriel Vásquez. In his narrative he explores and researches about the history of his country in order to inquire on the past and with it. He proposes new readings in relation to the official history, its uncertainties and the unveiling of secrets about some facts that defined the progress or regression of Colombia. Therefore, this research studies and analyzes this relationship from the transtextuality theory exposed by Gerard Genette to reflect deeply on the ideologies represented in the "official" novels of this author, and the appearance of historical memory. As well as other types of narratives in which, own and others experiences appear, bringing unexpected elements to explore new studies. Juan Gabriel Vásquez weaves his novels from a combination of ideologies as politics, violence, the official history, and the cultural legacy, and the literary history of Colombia. He recreates meaningful events about Colombian history, supporting the scenic construction of the country, fragmented and separated into several periods of its development by the application of false ideas of growth and pacification, which have not occurred.The research contributes to the literary studies of the nation as well as to the Colombian writer, who is recognized in the literary international area little by little.