Dans ce mémoire de recherche-création en littératures de langue française, j’aborde la question des rapports entre les procédés de réécriture (par exemple, l’intertextualité, l’intratextualité et l’autotextualité, mais aussi les figures de la répétition et de la correction) et l’effet de défamiliarisation (ou de distanciation) au moyen d’un essai sur le roman Mercier et Camier de Samuel Beckett et d’une création littéraire de mon cru : un livre-objet constitué de trente et une feuilles non paginées et non reliées, sur lesquelles je réécris autant de fois l’incipit de Bouvard et Pécuchet, de Gustave Flaubert, en recourant à une mise en page qui défie le mode de lecture linéaire. Autant mon essai que ma création s’appliquent à montrer que les procédés de réécriture peuvent être employés pour produire un effet de défamiliarisation visant la fonction représentative de la littérature. / In this creative Master’s Thesis in French Literature, I addess the issue of the relationship between processes of rewriting (eg, intertextuality, intratextuality and autotextuality, but also the figures of repetition and correction) and defamiliarization (or the distancing effect) by the means of an essay on the novel Mercier et Camier by Samuel Beckett and of a literary creation of my own, consisting of thirty-one unbounded and unpaginated sheets, on which I rewrote as many times the incipit of Bouvard et Pecuchet by Gustave Flaubert in a layout that defies linear reading. Both my essay and my creation intend to show that processes of rewriting can be used to defamiliarize the representative function of literature.

Le texte qui suit, malgré son libellé onomastique (le nom « John Cage »), son orientation disciplinaire (la « théorie littéraire ») et sa visée thématique (« la révision du commentaire critique »), se place d’emblée dans une posture d’écriture et de création. Il consiste à proposer comme point de départ l’identité de la forme textuelle et de sa dérivation métatextuelle, en d’autres mots : de la voix citée et analysée avec l’autre voix citante et analysante. Cette prémisse dérive elle-même d’une confrontation locale : les spécificités et les idiosyncrasies de la textualité mise en place par John Cage à partir des années quarante (partitions littéraires des recueils Silence et A Year from Monday, mésostiches de M et X, réécritures et « writing through » d’Empty Words…). En effet, l’examen par la théorie littéraire d’un corpus aussi disséminé et « néologique » que l’est celui de John Cage pousse son rédacteur à poser la question de sa propre écriture (« autoréflexivité ») et à rendre possible une réalisation artistique personnelle (« performativité »). C’est donc à travers la contingence d’une langue et d’une subjectivité au travail que la théorisation (textuelle) du texte cherche ici à s’élucider et à s’écrire. Le travail commence par installer les modalités à la fois circulaires et circulatoires de la théorie littéraire, une tension rhétorique et épistémologique qu’il identifie sous le nom d’« aporie autoréflexive » (le texte théorique est concerné par la question de lui-même). Il s’efforce ensuite d’analyser la nouveauté de l’œuvre littéraire cagienne, en empruntant un schéma dialectique et antagoniste : d’un côté, une « textualité-objet », originale et orthographique, de l’autre, une « textualité-sujet », disséminante et intertextuelle, anarchique et jubilatoire. Enfin, le texte propose la révision, la recomposition, la « réécriture » du commentaire critique sur les bases nouvelles d’une textologie autoréflexive et performative — une indiscipline d’écriture qui utilise sciemment les coordonnées linguistiques de son élocution (néologie, typographisme, procédés citationnels…) et qui fait place sans camouflage ou refoulement à la personnalité intertextuelle, contextuelle, métissée du rédacteur. Par l’entremise d’une sorte d’« exemplarité textuelle » (Cage), ce travail insiste pour une synthèse à la fois productive et expressive des voix analysées et analysantes dans les études littéraires. On verra que, par moments, cette proposition implique que le texte se marginalise. / The following text, despite its onomastic labelling (the name “John Cage”), its disciplinary orientation (“literary theory”), and its thematic aim (“the revision of the literary commentary”), positions itself as a writing and creative venture. It starts by stating the strict identity of texts and metatexts, in other words, of the quoted, analyzed voice, with the quoting, analyzing other voice. This premise derives from a specific confrontation: the specificities and idiosyncrasies of John Cage’s literary production since the late 1940s (the literary scores from the anthologies Silence and A Year from Monday, the mesostics from M and X, the rewritings and “Writing through’s” from Empty Words…). Indeed, the examination by literary theory of a body of work as disseminated and “neological” as John Cage’s encourages the literary critic or theoretician to ask the question of his own writing (“self-reflexivity”) and also to make possible an original artistic realization (“performativity”). It is therefore through the possibilities of a language and of a subjectivity at work that the (textual) theorization of texts tries herein to elucidate and to write itself. This work starts by setting up the modalities both circular and circulatory of literary theory—a rhetorical and epistemological tension that will be identified as the “self-reflexive aporia” (the theoretical text is primarily concerned by the question of itself). It then tries to analyze the novelty of Cage’s literary work, using a dialectical and antagonistic configuration: on one hand, an “objective textuality”, original and orthographical; on the other hand, a “subjective textuality”, disseminating and intertextual, anarchic and unrestrained. Finally, this text proposes the revision, recomposition and “rewriting” of the critical commentary on the basis of a new self-reflexive and performative textology. That is: a sort of undiscipline in writing that knowingly manoeuvres the linguistic coordinates of its elocution (neology, typographism, quotation processes…) and that does not try to conceal or repress the intertextual, contextual, heterogenous and disparate personality of its author. Through a sort of “textual exemplarity” (Cage), this work insists on a synthesis both productive and expressive between the voices analyzing and the voices being analyzed. We will see accordingly that this proposition implies, from time to time, that the text be marginalized. / Toutes les illustrations qui ponctuent cette thèse ont été réalisées par Chantal Poirier. Elles ont été insérées dans le texte selon un ordre méticuleusement aléatoire.

This thesis tackles the problem of automatically proving the validity of mathematical formulas generated by program verification tools. In particular, it focuses on Satisfiability Modulo Theories (SMT): a young research topic that has seen great advances during the last decade. The solvers of this family have various applications in hardware design, program verification, model checking, etc.SMT solvers offer a good compromise between expressiveness and efficiency. They rely on a tight cooperation between a SAT solver and a combination of decision procedures for specific theories, such as the free theory of equality with uninterpreted symbols, linear arithmetic over integers and rationals, or the theory of arrays.This thesis aims at improving the efficiency and the expressiveness of the Alt-Ergo SMT solver. For that, we designed a new decision procedure for the theory of linear integer arithmetic. This procedure is inspired by Fourier-Motzkin's method, but it uses a rational simplex to perform computations in practice. We have also designed a new combination framework, capable of reasoning in the union of the free theory of equality, the AC theory of associative and commutativesymbols, and an arbitrary signature-disjoint Shostak theory. This framework is a modular and non-intrusive extension of the ground AC completion procedure with the given Shostak theory. In addition, we have extended Alt-Ergo with existing decision procedures to integrate additional interesting theories, such as the theory of enumerated data types and the theory of arrays. Finally, we have explored preprocessing techniques for formulas simplification as well as the enhancement of Alt-Ergo's SAT solver.

Thesis (MA (English))--University of Stellenbosch, 2008. / The notion that the post-colonial text stands in direct opposition to the canonical European text, and thus acts as a kind of counter-discourse, is generally accepted within post-colonial theory. In fact, this concept is so fashionable that Salman Rushdie’s assertion that ‘the Empire writes back to the Centre’ has been adopted as a maxim within the field of post-colonial studies, simultaneously a mission statement and a summative description of the entire field. In its role as a ‘response’ to a dominant European literary tradition, the post-colonial text is often regarded as resorting to a strategy of subversion through inversion, in essence, telling the ‘other side of the story’. The post-colonial text, then, seeks to address the ways in which the western literary tradition has marginalised, misrepresented and silenced its others by providing a platform for these dissenting voices. While such a view rightly points to the post-colonial text’s concern with alterity and oppression, it also points to the agonistic nature of the genre. That is, within post-colonial theory, the literature of Empire does not emerge as autonomous and self-determining, but is restricted to the role of counter-discourse, forever placed in direct opposition (or in response) to a unified dominant social order. Post-colonial theory’s continued classification of the literature of Empire as a reaction to a normative, dominant discourse against which all others must be weighed and found wanting serves to strengthen the binary order which polarises centre and periphery. This study is concerned with ‘rewritten’ post-colonial texts, such as J.M. Coetzee’s Foe, Jean Rhys’s Wide Sargasso Sea, Marina Warner’s Indigo, or, Mapping the Waters and Aimé Césaire’s A Tempest, and suggests that these revised texts exceed such narrow definition. Although often characterised by a concern with ‘political’ issues, the revised text surpasses the romantic notion of ‘speaking back’ by pointing to a more complex entanglement between post-colonial and canonical, self and other. These texts signal the collapse of binary order and the emergence of a new literary landscape in which there can be no dialogue between the clearly demarcated sites of Empire and Centre, but rather a global conversation that exceeds geographical location. It would seem as if the dependent texts in question resist offering mere pluralistic subversions of the logic of their pretexts. The desire to challenge the assumptions of a Eurocentric literary tradition is overshadowed by a distinct sense of disquiet or unease with the matrix text. This sense of unease is read as a response to an exaggerated iterability within the original text, which in turn stems from the matrix text’s inability to negotiate its own aporia. The aim of this study, then, is not to uncover the ways in which the post-colonial rewrite challenges the assumptions of its literary pretext, but rather to establish how certain elements of instability and subversion already present within the colonial pretext allows for such a return.

This dissertation analyses various kinds of the orthographical exercises in the second grade of the primary school. The dissertation focuses on the question of orthography in the theoretical part, after that it focuses on a short view of orthography in the Czech history or its division into lexical, morphological and syntactical orthography. We find here a short description of the orthography and a view of orthographical's effects in the teaching of Czech language in the primary school or meeting with orthographical guides. The goal of the practical part of this dissertation is a deeper typological description of these exercises, we will primarily focus on examples of rewriting, orthographical analysis, refilling and alternating exercises and dictations.

NASCIMENTO, Maria Valdênia Falcão do. Autoria e posicionamento na produção textual escrita de futuros professores de espanhol como língua estrangeira. 2007. 195f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2007. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-20T13:53:48Z No. of bitstreams: 1 2007_dis_mvfnascimento.pdf: 1401369 bytes, checksum: a8433e913605616bbceb661282cdbf0b (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-20T17:14:02Z (GMT) No. of bitstreams: 1 2007_dis_mvfnascimento.pdf: 1401369 bytes, checksum: a8433e913605616bbceb661282cdbf0b (MD5) / Made available in DSpace on 2014-08-20T17:14:02Z (GMT). No. of bitstreams: 1 2007_dis_mvfnascimento.pdf: 1401369 bytes, checksum: a8433e913605616bbceb661282cdbf0b (MD5) Previous issue date: 2007 / This research has resulted from our questions concerning the relationship between the point of view of the subject and the composition of the authorship in different versions of argumentative texts rewritten by undergraduate students of both native and/ or foreign language teaching.We aim at answering the following questions, as it was previously mentioned: 1.What sort of relationship is established between the composition of the authorship in texts and the different view points of the subject when rewriting the text? 2. Considering changes in the point of view of the subject in one of the versions, how do these changes happen and which are the relationships established through meaningful effect? 3. In which ways can the process of rewriting the text facilitate the composition of the authorship in schools? 4. How can the point of view of the subject in the different versions, compete to form or reinforce socially fossilized meaning? Background Theories: In order to reach the proposed goals, we consider some theories of statement, specially Bakhtin´s ideas (1929,1979); French Speech Analysis, particularly the third phase, with the contributions of Maingueneau (2001, 2006), Baptista (2005), Possenti (2001, 2002) and Authier-Revuz (1998, 2004). Moreover, we have also based our ideas on Applied Linguistics, through the works of Coracini (1999, 2001) and Abaurre, Fiad e Mayrink-Sabinson (2001). Methodology: Our selected corpus presents sixty written productions with three different versions each, resulting in an amount of one hundred and eighty argumentative texts in Spanish Language. Those texts were written by the undergraduate students of Teaching Spanish as a Foreign Language of the Federal University of Ceará in Brazil. This research was carried on during the second term of 2006 as an assignment of the class of Comprehension and Production of Texts in Spanish Language. The methodology used consisted on a contrastive analysis of the three different versions of each text in the corpus. The objective was to identify in which ways the subject, when taking the position of author, had some attitudes such as: allow other interlocutors to manifest speech or keep the distance from the text. Results: The result of the analysis has shown that the process of writing the text is an efficient methodology to facilitate the composition of the authorship in school texts. This happens because this process allows the subject to interfere and reflect about the text during the writing process. Key Words: Speech Analysis, Applied Linguistics, Spanish as a Foreign Language, Rewriting of a text. / Este trabalho resultou de nossas indagações a respeito da relação existente entre os posicionamentos do sujeito e a instauração da autoria, nas diferentes versões originadas no processo de refacção de textos argumentativos produzidos por estudantes universitários, futuros professores de língua materna e/ou estrangeira. Entre os questionamentos suscitados, visamos responder às seguintes questões: 1. Que tipo de relação se estabelece entre a assunção da autoria nos textos e os diferentes posicionamentos assumidos pelo sujeito durante o processo de refacção textual? 2. Ocorrendo modificações no posicionamento do sujeito, em uma das versões, como se dão essas alterações e quais as relações que se estabelecem em termos de efeito de sentido? 3. De que maneira a refacção empregada no processo de produção de textos em ambiente escolar pode ser facilitadora da assunção da autoria? 4. Como os posicionamentos de cada sujeito-autor, nas diferentes versões, concorrem para instaurar ou reforçar sentidos já socialmente cristalizados? Referencial teórico: Para o alcance dos objetivos propostos, baseamo-nos numa articulação entre as teorias enunciativas, especialmente os postulados de Bakhtin (1929, 1979); a Análise do Discurso Francesa, particularmente na sua terceira fase, com as contribuições de Maingueneau (2001; 2006), Baptista (2005), Possenti (2001, 2002) e Authier-Revuz (1998, 2004) e, ainda, a Lingüística Aplicada, com os trabalhos de Coracini (1999, 2001) e os de Abaurre, Fiad e Mayrink-Sabinson (2001). Metodologia: Selecionamos como corpus sessenta produções escritas, com três versões cada, que totalizaram cento e oitenta textos argumentativos, em língua espanhola, produzidos e recolhidos no curso de graduação em Letras/Espanhol da Universidade Federal do Ceará, no segundo semestre de 2006, durante a disciplina de Compreensão e produção de textos em espanhol. A metodologia empregada consistiu numa análise contrastiva das diferentes versões de cada texto que compõe o corpus, tendo em vista verificarmos de que modo o sujeito ao assumir a autoria realizou determinadas atitudes: dar voz a outros enunciadores e manter distância do próprio texto. Resultados: As análises realizadas permitiram perceber que o processo de refacção pode ser considerado um procedimento metodológico facilitador da assunção da autoria nos textos de escolares, por permitir ao sujeito um espaço de intervenção e reflexão sobre o texto no momento de sua produção.

SILVA, Ricelly Jáder Bezerra da. A tradução da personagem Elizabeth Bennet, de Pride & Prejudice, para o cinema. 2014. 123f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:31:13Z No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:40:42Z (GMT) No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) / Made available in DSpace on 2014-08-08T17:40:42Z (GMT). No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) Previous issue date: 2014 / This dissertation aims at analyzing the process of translating the character of Elizabeth Bennet, protagonist of the novel Pride & Prejudice, first published in 1813 by the English author, Jane Austen, into the film version Pride & Prejudice (1940), by Robert Z. Leonard. In her novel, Austen criticizes sociocultural patters which relegate women to an inferior position in relation to the male sex. Such criticism is subtlety present in the narrative and, especially, in the character of Elizabeth Bennet, who is seen as an intelligent, ironic and decisive woman. These qualities differ from the moral idea of women in nineteenth-century England. The presentation of this type of female character assures her of a timeless quality which is transmitted to posterity by means of translations. Pride & Prejudice was first translated for the Hollywood film in 1940, in the above mentioned Leonard’s version. Since the cinema is a medium that reaches a large audience of both readers and non-readers of literary works, one may question the strategies that are implied in the translation process of such character to the silver screen. It may be correctly assumed that when thus translated, any social criticism presented by the principal literary character tends to give way to a narrative which proposes entertainment, focusing on the love and comical relationship between the protagonists of the novel. The theoretic basis for the present analysis is based on the following concepts of translation: Lefevere’s translation rewriting (2007) and Cattrysse’s postulate (1995) which conceives film adaptation as a type of translation. Concerning film adaptation, Martin (2005), Eisenstein (2002) and McFarlane’s (2010) studies, which regard cinema as a linguistic art in its own right, were incorporated into our analysis as were those of Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) and Forster (2004), all of whom discuss the structure of the fictional character. Such studies have resulted in a new configuration of the cinematographic character. Based on the criteria on the target system, this configuration permits the deleting of the critical level found in the universe of the novel and introduces the original work to a wider audience, as can be proved by the republishing of the novel in various editions after the release of the film version in 1940. / O objetivo deste trabalho é analisar o processo de tradução da personagem Elizabeth Bennet, protagonista do romance Pride & Prejudice, publicado em 1813, de autoria da escritora inglesa Jane Austen, para o filme Pride and Prejudice (1940), de Robert Z. Leonard. Em sua obra, Austen constrói uma crítica a padrões socioculturais que relegam posição inferior à mulher do século XIX em relação ao sexo masculino. Tal crítica está presente de maneira sutil em sua narrativa, principalmente, centrada na personagem Elizabeth Bennet, pois Austen a apresenta como uma mulher inteligente, irônica, decidida e ousada; qualidades que não eram associadas ao comportamento feminino durante o século XIX. Por apresentar personagens femininas de caráter decidido, suas criações ganham qualidade atemporal, sendo projetadas à posteridade por meio de traduções. Pride & Prejudice foi adaptado pela primeira vez para o cinema hollywoodiano em 1940, na versão supracitada de Leonard. E, sendo o cinema um meio que atinge grande público formado por leitores e não leitores de obras literárias, indagamo-nos quais estratégias foram empregadas no processo tradutório da referida personagem para a narrativa fílmica. Portanto, partimos da hipótese de que, ao ser traduzida para as telas, a personagem é reestruturada e a crítica é apagada para ceder lugar a uma narrativa cômica e romântica. Como base teórica, utilizamos princípios de Estudos da Tradução: Lefevere (2007), com o conceito de tradução como Reescritura e Cattrysse (1995), que concebe a adaptação fílmica como tradução. Quanto aos estudos de cinema e literatura, utilizamos Martin (2005), Eisenstein (2002) e McFarlane (2010); e no que diz respeito a questões literárias, utilizamos Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) e Forster (2004). Os resultados mostraram que ocorreram mudanças na configuração da personagem cinematográfica, obedecendo aos critérios do sistema receptor e apagando o teor crítico encontrado no romance de Austen. Mostraram ainda que a obra fílmica projetou o universo literário do romance para um público mais amplo, dada as reedições do romance durante aquela década, em decorrência da exibição do filme.

SOUZA, José Ailson Lemos. Howards end: o espaço nas narrativas literária e fílmica. 2012. 109f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2012. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-29T15:23:06Z No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-24T11:18:35Z (GMT) No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) / Made available in DSpace on 2012-07-24T11:18:35Z (GMT). No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) Previous issue date: 2012 / This dissertation examines the construction of space in two narratives: the novel Howards End (1910), by E. M. Forster, and the homonymous film (1992), directed by James Ivory. Our hypothesis is that the film makes use of spatial elements to comment on the film genre itself: the heritage films; and so, it reformulates the initial discourse with which such narratives were related to. Thereby, the function of space in the film is different from that function used in the novel. It is, therefore, a translation strategy which places Ivory’s text in a dialectical relation with its own time, although it tries to recreate Edwardian period on screen. In order to demonstrate our interpretation, we firstly examined the space in the novel. We concluded that, in this text, the space has the following functions: to symbolically discuss the complexity of male and female genres, showing the arbitrary way by which this question was seen at the beginning of the 20th century, and the representation of the house as a place of refuge from the feeling of fragmentation in society; exterior places function as sceneries in which the deep changes brought by modernity are reflected. In the film, however, space is used to construct the aesthetics of display, a typical characteristic of heritage films, to modify the notions on English identity commonly related to these narratives. If, at the beginning, heritage films discourse attempted to redeem British imperialistic position, Ivory’s film deconstructs such attempt and indicates its impossibility. Our work is based on concepts from Descriptive Translation Studies, from polysystem theory by Even-Zohar (1990), Lefevere’s concept of rewriting, and on studies that deal with film narratives such as Vanoye & Goliot-Lété (1994), Aumont (1995), Silva (2007) and Gaudreault & Jost (2009) / A presente dissertação examina a construção do espaço em duas narrativas: o romance Howards End (1910), de E. M. Forster, e o filme Retorno a Howards End (1992), dirigido por James Ivory. Nossa hipótese é de que a narrativa fílmica serve-se de elementos espaciais para tecer comentários sobre o gênero ao qual pertence: os filmes de herança; e, assim, reformula a discussão inicial a que essas narrativas estavam atreladas. Desse modo, a função do espaço no filme difere daquela empregada no romance. Trata-se, portanto, de uma estratégia tradutória que coloca o texto de Ivory em diálogo com a sua época, apesar de buscar recriar o período eduardiano na tela. Para demonstrar a nossa interpretação, examinamos primeiramente o espaço no romance de Forster. Concluímos que, nesse texto, a construção do espaço apresenta as seguintes funções: discutir simbolicamente a complexidade dos gêneros masculino e feminino, o modo arbitrário com que a questão era percebida no início do século XX, e a representação da casa como local de refúgio contra o sentimento de fragmentação na sociedade; os espaços externos funcionam como cenário no qual refletem-se as profundas transformações trazidas pela modernidade no início do século passado. No filme, por outro lado, o espaço faz uso da estética da exposição, uma característica típica dos filmes de herança, para redimensionar a discussão sobre a identidade inglesa. Se, em seu início, o discurso do gênero em questão procurava resgatar o ideário imperialista britânico, o filme de Ivory desconstrói tal noção e aponta para a impossibilidade deste retorno. Nosso trabalho ampara-se em conceitos oriundos dos Estudos Descritivos de tradução, partindo da teoria dos polissistemas de Even-Zohar (1990), o conceito de reescritura de Lefevere (2007), e em estudos que enfocam a narrativa cinematográfica, como Vanoye & Goliot-Lété (1994), Aumont (1995), Silva (2007) e Gaudreault & Jost (2009).

This study dealt with the illness of the teacher teaching the upper face to the changing world of work caused by the restructuring of the public university. The aim was to analyze the main impacts of the restructuring of the public university at work and health of university professors from the Federal University of Uberlândia - UFU. To do so, traced the profile epidemiology of illnesses of teachers in higher education, Federal University of Uberlândia, based on the description of the cases registered in the Setor de Perícia em Saúde da Diretoria de Qualidade de Vida e Saúde - DIRQS the period 2008 to 2012. A survey of the problematic consequences of the politics reconfiguration of higher education in the teacher labor everyday. When considering where to play its role well the teacher must have good health and work, it became important to analyze which conditions affect the performance of their work. This procedure allowed the knowledge of the main health problems that affected the teaching category in the study period using for this purpose, qualitative methodological approach of predominantly descriptive nature of documentary research as a technique for gathering and analyzing data, without, however, neglect the contributions coming from the quantitative data that was presented. The identification of health problems that interfere with the dynamics of work has become of paramount importance, since it provided an understanding of the factors related to the malaise of university teaching teacher. The results of this research allow us to state that the reconfiguration of higher education from the 1990s exacerbated by the intensification of precarious working conditions of teachers, leaving them susceptible to disease processes. / Este estudo tratou do adoecimento do professor do magistério superior face às mudanças do mundo do trabalho ocasionadas pela reestruturação da universidade pública. O objetivo foi analisar os principais impactos da reestruturação da universidade pública no trabalho e na saúde dos professores universitários da Universidade Federal de Uberlândia - UFU. Para tanto, traçou-se o perfil epidemiológico dos adoecimentos dos docentes do ensino superior da UFU, com base na descrição das doenças registradas no Setor de Perícia em Saúde da Diretoria de Qualidade de Vida e Saúde do Servidor DIRQS no período de 2008 a 2012. A pesquisa parte da problematização das consequências das políticas de reconfiguração da educação superior no cotidiano laboral do professor. Ao considerar que para desempenhar bem a sua função o docente deve ter boas condições de saúde e de trabalho, tornou-se relevante analisar quais condições afetam o desempenho de seu labor. Esse procedimento possibilitou conhecer os principais problemas de saúde que afetou a categoria docente no período em estudo utilizando, para tanto, a abordagem metodológica qualitativa, de natureza descritiva, com predomínio da pesquisa documental como técnica de obtenção e análise de dados sem, no entanto, desprezar as contribuições advindas dos dados quantitativos que se apresentaram. A identificação dos problemas de saúde que interferem na dinâmica do trabalho tornou-se de fundamental importância, visto que proporcionaram a compreensão dos fatores relacionados ao mal-estar do professor do magistério superior. Os resultados desta investigação permitem afirmar que a reconfiguração do ensino superior a partir dos anos de 1990 agravou a intensificação por meio da precarização das condições de trabalho do professor, deixando-os suscetíveis aos processos de adoecimento. / Mestre em Educação

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-18Bitstream added on 2014-06-13T19:59:51Z : No. of bitstreams: 1 galbiati_ma_me_sjrp.pdf: 761552 bytes, checksum: bc41402ea93ebfc4ee1b035547567ee6 (MD5) / O presente trabalho focaliza o processo de composição de The Voyage Out (1915), o primeiro romance de Virginia Woolf. Este percurso demorado e conturbado caracteriza-se pelas várias interrupções geradas por crises emocionais e pelo trabalho intenso de revisão e reescrita da autora. Por conta disso, há muitos pré-textos (manuscritos, fragmentos inacabados, cópias datilografadas), chamados pela crítica de “rascunhos”. Um deles é Melymbrosia, o “romanceensaio” terminado em julho de 1912, editado por Louise DeSalvo e publicado nos Estados Unidos apenas em 1982. Para atingirmos nosso objetivo, extraímos trechos, indicadores das preocupações político-sociais da escritora, de Melymbrosia e os compararmos com The Voyage Out. A partir da constatação de alterações formais e conteudísticas entre os livros, verifica-se a forte tendência da autora em modificar/atualizar seu texto em função dos acontecimentos históricos durante o período de escrita do romance. Com isso, observa-se também a forma distinta com que Virginia construiu suas personagens – coerentes com a realidade social de sua época – em relação com os outros elementos constitutivos da narrativa e, assim, identificam-se os comportamentos, valores e pensamento ideológico da sociedade britânica no início do século XX. Por isso, entende-se que o processo de revisão e reescrita de The Voyage Out, é, de fato, um movimento de “re-visão”, de “re-criação”, pois a presença do olhar crítico de Virginia e a sua percepção da realidade reavaliam o contexto sócio-histórico britânico, revelando-se elementos fundamentais no processo de composição de sua obra como um todo. / This dissertation focuses on the process of composition of Virginia Woolf’s first novel, The Voyage Out (1915). This lengthy and problematic journey is characterized by several interruptions resulting from psychological crises and by the author’s intense work of revising and rewriting. Because of this there are many pre-texts (manuscripts, unfinished fragments and typed copies), described as “drafts” by the critics. One of these is Melymbrosia, the “novel-essay” completed in July 1912, edited by Louise DeSalvo only published in the U.S.A. in 1982. In order to realize our objectives excerpts indicative of the writer’s social and political concerns were taken from Melymbrosia and were compared with The Voyage Out. Based upon the formal and content modifications it was possible to confirm the author’s strong tendency to alter/update her text according to the historical facts and events during the period of composition. In addition, it was also possible to observe the distinct way in which Virginia Woolf constructed her characters – consistent with the social reality of the historical moment – in relation to the other narrative elements, thus identifying behavior, values and ideological thought of British society in the early 20th century. The process of revision and rewriting of The Voyage Out may therefore be understood to be a movement of “re-vision”, of “re-creation”, since Virginia Woolf’s critical vision and her perception of reality re-evaluate the British social and historical context, and become essential elements in the process of composition of her literary work as a whole.