Depuis la nuit des temps, les autoconstructions médinales tunisoises ont été, souvent brutalement, rasées par les autorités. L’avènement de la révolution de 2011 a revivifié leurs réapparitions. Les dynamiter une nouvelle fois aggraverait l’hémorragie de leurs renouvellements. Les « valoriser », les regarder autrement au lieu de s’en débarrasser, pourrait ouvrir de nouveaux horizons. Les considérer dans un comparatisme avec le Déconstructivisme nous conduirait certainement vers de fructueuses voies. Comparer ainsi la complexité, le chaos, la bizarrerie formelle et géométrique déployée par la déconstruction architecturale et les caractères formels des autoconstructions de la médina, constitue l’hypothèse de travail qui nous a guidé. La problématique développée dans la thèse consiste à porter un autre regard sur les autoconstructions de la médina de Tunis, en convoquant l’esthétique du Déconstructivisme afin de le discuter, voire de l’enrichir, d’une part, et, d’autre part, de promouvoir une autre approche de l’habitat spontané dans la ville de Tunis qui serait susceptible de fournir une autre lecture du phénomène de son émergence. L’une des ressemblances de l’autoconstruction au regard de la déconstruction architecturale tient à sa non-réglementation. Il en découle des espaces totalement bizarres, des plans déformés, des angles insolites, des lignes brisées, des asymétries télescopées... L’« idée » de déréglementation des autoconstructions transgresse nos habitudes de voir l’architecture. Elles nous semblent plutôt « vides de règles » que « déréglementées » et apparaissent complètement non académiques, non architecturales et pratiquement sans architectes qualifiés. Une autre ressemblance entre les (auto-) et (dé-)constructions réside dans l’ « idée » de ruine. Témoins de déshérence générale, de précarité et de souffrances, les autoconstructions incarnent le lieu d’une défragmentation chaotique de l’architecture. Planchers abandonnés, poteaux inachevés, façades hasardeusement superposées, revêtements anarchiquement combinés, constructions complètement ou partiellement ruinées... ; tous ces fréquents aspects esthétiques entretiennent de curieuses résonnances avec beaucoup de réalisations déconstructivistes. Une troisième ressemblance réside dans l’aspect d’incomplétude. En parcourant les ruelles de la médina, nous rencontrons des talus de sables, des sacs de ciments, des graviers, des briques, des pierres, des tôles ondulées, des déchets de bois, etc. Les autoconstructions médinale tunisoise sont-elles en « voie de déconstruction » ? Pourraient-elles inspirer les architectes déconstructivistes ? Pourrions-nous proposer que le Déconstructivisme constitue le meilleur appui théorique pouvant valoriser les aspects esthétiques des autoconstructions tunisoises ? / Since the beginning of time, Tunisian autoconstructions of the medina had been brutally razed by the governement. The advent of the 2011 revolution revived the desire for their reappearances. The dynamiting them again aggravates the hemorrhage of their renewals. "Speculating", "valuing" them and looking at them differently instead of getting rid of them will open up new opportunities. In the present work, the comparative method between autoconstruction and Deconstructivism would certainly lead us to fruitful paths. The complexity, the chaos, the formal and bizarre geometry deployed by the architectural deconstruction and, from the outset, by the autoconstruction of the medina seem to us the first hypotheses. In these brief lines, we shall be content to develop other aspects. The problematic developed in the thesis is to take another look at the autoconstruction of the medina of Tunis, summoning the aesthetics of Deconstructivism to discuss it, even to enrich it, on the one hand, and on the other hand , to promote another approach to spontaneous housing in the city of Tunis that would be likely to provide another reading of the phenomenon of its emergence. One of the resemblances that combines autoconstruction with deconstruction is its ability to be deregulated. The result is totally bizarre spaces, distorted planes, unusual angles, broken lines, telescoped asymmetries, etc. The "idea" of deregulation of autoconstructions transgresses our habits of seeing architecture. More than deregulation, they seem "empty of rules" and remain completely non-academic, non-architectural and practically without qualified architects. Another resemblance between the (auto-) and (de-)construction lies in the "idea" of ruin. Witnesses general desertion, precariousness and suffering, autoconstructions embody the place of a chaotic defragmentation of architecture. Abandoned floors, unfinished posts, randomly overlapping facades, anarchically combined facades, completely or partly ruined buildings, etc ; all these frequent and current aesthetic aspects have strange resemblances to many deconstructivist achievements. A third resemblance resides in its incomplete appearance. Just by walking through the narrow streets of the medina, we come across sandy slopes, bags of cement, gravel, bricks, stones, corrugated sheets, wood waste, etc. The result is interminably open chantier. It also results in excessive use of precarious, urgent, essential building materials. Are the Tunisian autoconstructions of the medina in a "way of deconstruction"? Could they inspire deconstructivist architects ? Could we propose that Deconstructivism constitutes the best theoretical support that can enhance the aesthetic aspects of Tunisian autoconstructions ?

La présente étude offre un regard nouveau sur les systèmes de croyances religieux grecs et mésopotamiens. Adoptant une démarche comparative et contrastive, la déesse grecque Aphrodite est confrontée à la déesse mésopotamienne Inanna/Ištar. Étudiant de manière interne à chacun des deux panthéons les différents modes d’action des déesses, il s’agit de comprendre comment s’exprime la notion de « pouvoir » divin dans les sources grecques archaïques et les compositions paléo-babyloniennes du IIe millénaire av. J.-C. Parts d’honneur, parures, cortèges sont autant d’expressions des réseaux de pouvoir d’Inanna/Ištar et d’Aphrodite ; ils se transmettent, s’échangent et avec eux circulent les souverainetés spécifiques des déesses. L’enjeu principal de cette thèse est d’étudier les différentes expressions des "pouvoirs" divins dans un même complexe culturel, le monde grec ou la Mésopotamie, d’en saisir les dynamiques internes, puis de les soumettre à comparaison afin d’apporter de nouveaux éclairages sur les fonctionnements des panthéons grecs et suméro-akkadiens. / This thesis project puts forward a new glance on the ancient Greek and Mesopotamian systems of religious beliefs. Thanks to a contrastive approach, the Greek goddess Aphrodite is compared to the Mesopotamian goddess Inanna/Ištar. By studying in the two different pantheons the goddesses’ modes of action “from the inside”, the purpose of this study is to understand how the idea of divine “power” works in the Archaic Greek texts and Paleo-Babylonian compositions from the IInd millennium B. C. Shares of honor, finery, corteges are the expressions of Aphrodite’s and Inanna/Ištar’s networks of power. They can be transmitted or traded and they convey specific sovereignties of the goddesses. Thus, the aim of this thesis is to study different expressions of divine “powers” within two separate cultural structures (the Greek world and Mesopotamia), to catch their internal dynamics, and then to compare the results to shed a new light on the functioning of Greek and Sumero-Akkadian pantheons.

L’objectif de la thèse est de rassembler des arguments permettant de déterminer si la seconde partie de la légende mariale moyen-néerlandaise Beatrijs (vv. 865-1038) est originale ou plutôt l’œuvre d’un continuateur. Dans la séquence narrative dont il est question, l’auteur développe le thème de la confession, préalable spirituel à la rémission des péchés. En premier lieu, l’analyse stylistique objective (c.-à-d. basée sur des paramètres quantitatifs) de l’ensemble du corpus-texte nous a permis de ne déceler aucune différence notable entre les deux parties de la légende. Ensuite, par l’étude de la structure diégétique, nous avons tenté d’expliquer le rôle du processus pénitentiel dans l’œuvre moyen-néerlandaise. Grâce aux principes d’analyse sémiotique de Propp, Greimas, Courtès et Dundes, nous avons pu remarquer que la légende présente une double articulation narrative reposant sur une double quête : le rejet du péché par le retour à l’espace hétérotopique initial (dans la première partie) et la quête de la pureté originale par la confession des péchés (dans la seconde partie). Cette dernière quête semble donc très logiquement faire partie intégrante de l’œuvre médiévale. The aim of this thesis is to determine whether the second part of the Middle-Dutch legend Beatrijs (vv. 865-1038) is original. In the final sequences, the author highlights the role of confession in the absolution of sins. In the first part of our work, we carried out a stylistic analysis of the whole legend that rested on quantifiable parameters. As no significant differences could be observed between the two parts, the stylistic homogeneity seemed obvious. In the second part of our research, the emphasis was laid on the narrative structural approach. On the basis of the theories of semioticians (Propp, Greimas, Courtès and Dundes), we could analyse the legend as a bimotifemic « complex tale » in which the success of the first quest in the first part (return to the heterotopic point of departure) must be considered the first stage in the expiation. The second quest in the second part (return to the original purity) can only be achieved through confession. This physical and spiritual movement ensures absolution and salvation : for that reason we can assert that the confession process is an integral part of the medieval legend as a whole.

Le berbère est généralement présenté comme un ensemble de dialectes, distincts, avec des frontières plus ou moins hermétiques, qui, le plus souvent, sont étudiés et enseignés de façon clivée voire exclusive. Cette atomisation et cette pratique différenciative occultent l’unité structurale (grammaire et fonds lexical communs) qui forme cette langue commune à laquelle référent tous ces dialectes et n’en donnent qu’une vue fragmentaire.Le domaine de la lexicographie ne déroge pas à cet usage. Chaque dictionnaire est consacré à un seul dialecte avec une graphie et une orthographe propres, et c’est au plan du lexique notamment que le berbère apparaît le plus disparate. Pour aller au-delà du particularisme et appréhender la langue dans sa globalité, nous explorons, à travers le matériau lexical, un panel de dialectes (17) représentant toute la diversité berbère. Nous établissons, par approche comparative, des passerelles inter-dialectales puis rassemblons les éléments communs du lexique recueillis à ce jour. Nous relevons ensuite les changements phonétiques, phonologiques, morphologiques et sémantiques observés dans les unités lexicales afin de mieux comprendre l'évolution du système lexical.Pour ce faire, nous élaborons un E-dictionnaire bilingue (berbère <-> français) qui permet, en tant qu’outil didactique, d’étudier la langue berbère aussi bien dans son unité que dans sa diversité dialectale, et en tant que moyen heuristique de recherche et d'analyse, d’étudier l’étymologie et les faits linguistiques en synchronie et en diachronie.Enfin, nous proposons un outil statistique (le « taux d’homogénéité ») qui mesure la proximité entre les lexiques (ou dialectes). / The Berber language is usually presented as a set of distinct dialects, with more or less hermetic boundaries, which are, most often, studied and taught in a cleaved or even exclusive way.This atomization and this differentiating practice obscure the structural unity (grammar and lexical bases) which founds that common language to which all these dialects refer and give only a fragmentary view of it. The field of lexicography does not depart from this usage. Each dictionary is devoted to a single dialect with a specific spelling, and it is in the lexicon in particular that Berber appears the most disparate.To go beyond particularism and grasp the language as a whole, we explore, through the lexical material, a panel of dialects (17) representing all of Berber diversity. We establish, by comparative approach, inter-dialectal bridges and then gather the common elements of the lexicon collected to date. We then note the phonetic, phonological, morphological and semantic changes observed in lexical units in order to better understand the evolution of the lexical system.To do this, we develop a bilingual E-dictionary (Berber <-> French) which allows - as a didactic tool - for the studying of the Berber language in its unity as well as in its dialectal diversity and - as a heuristic means of research and analysis - for etymology and linguistics facts in synchrony and diachrony.Finally, we introduce a statistical tool (the “homogeneity rate”) that measures the proximity between lexicons (or dialects).

Este trabalho analisa a importância da poesia de Manuel Bandeira, dentro do contexto do Modernismo literário brasileiro, para o grupo de autores cabo-verdianos ligados à publicação da revista Claridade, sobretudo em sua primeira fase, nos anos de 1936 e 1937. Destacamos aspectos que contribuíram para a confluência literária que se verifica entre tais autores, como a similaridade das formações culturais, a busca por um modernismo que servisse de transição entre a herança literária do passado e as inovações formais, e o caráter utópico da literatura. Como conclusão, esperamos contribuir para uma nova leitura da obra do poeta brasileiro, enaltecendo aspectos até então relegados a um segundo plano, e, como conseqüência, promover uma valorização dos autores cabo-verdianos como agentes no vasto sistema das literaturas de língua portuguesa. / This work analyzes the importance of Manuel Bandeira?s poetry, in the context of Brazilian literary Modernism, for the group of Cape Verdean authors responsible for the publication of Claridade magazine, especially in its first phase, in 1936 and 1937. Emphasis is given to some aspects that contributed to the literary confluence existent between these authors, such as the similarities of cultural formation, the quest for a Modernism that could function as a bridge between the literary heritage and the formal esthetic innovation, and the utopian nature of the literature. The intention is to contribute to a new reading of the Brazilian poet, stressing aspects that were relegated to the background, and, as a result, promoting a valorization of the Cape Verdean authors as agents in the vast system composed of all literatures written in the Portuguese language.

A presente dissertação está inserida na área de Estudos Comparados de Literaturas de Língua Portuguesa e tem como objetivo constatar que elementos literários permitem a contribuição da Literatura Infantil para a formação de espírito sobre o feminino em determinada época, em obras que se apropriam do conto popular Forma literária legitimada como transmissora de valores para desenvolver a consciência crítica do leitor, através do questionamento, validação e de divulgação de novas proposições de valores. Para tanto, realizou-se uma análise comparativa de obras que tinham como protagonista a figura de uma jovem princesa que se preparava para a vida adulta através de uma jornada em busca da própria identidade. Os corpora são A rainha e as irmãs, conto popular recolhido por Câmara Cascudo presente na obra Contos Tradicionais do Brasil (1955), Procurando Firme (1984) de Ruth Rocha e Uma, duas, três princesas (2013) de Ana Maria Machado. Para dar suporte à análise, verificamos teorias que justificassem afirmar que a função social, a linguagem, a ética interna e a possibilidade de atualização do conto popular o configuram como um texto que, legitimado pela comunidade que o recebe, torna possível a transmissão de valores abstratos. Para entender como a literatura infantil se apropriou do conto popular, investigamos as relações entre a mentalidade do homem primitivo e da criança e suas aproximações quanto à percepção da realidade. Situamos as obras em um contexto histórico-social, problematizando a literatura infantil em meio às mudanças de paradigmas e mentalidade em nossa sociedade, que terminam por influenciar na representação do feminino. Os valores considerados femininos foram abordados em perspectiva histórica e do estudo de gêneros. Justificamos a escolha das obras investigando as relações entre a saga do herói e os ritos masculinos e femininos de iniciação à vida adulta, com intenção de compreender em qual medida essa jornada pode ser considerada uma metáfora da condição humana. Apresentamos e comentamos um panorama de obras do século XX no Brasil em que há a figura da princesa. Na análise dos corpora, comparamos as relações entre a figura da princesa e a família, a preparação para a jornada e os aspectos valorizados em cada jornada. Consideramos que as narrativas acompanham o discurso sobre o feminino em cada época e projetam-se sobre a prática da geração seguinte, transpondo a representação da mulher como um indivíduo para transfigurar-se em uma metáfora da condição feminina na sociedade. / This dissertation of master degree is inserted in Comparative Studies of Portuguese Language Literature and aims to see some literary elements that can contribute to Children\'s Literature participate of the formation of mentality about female at each time, in works where there is the appropriation of folktales as a kind of literature legitimized by a people to pass some values to develop a critical awareness of the reader, through questioning, validation and dissemination of new values. Therefore, a comparative analysis was carried out works which had as protagonist the figure of a young princess who was preparing herself to the adult life through a journey in search of their own identity. The corpora consists of A rainha e as irmãs, folktale collected by Cascudo present in the work Contos Tradicionais do Brasil (1955), Procurando Firme (1984), by Ruth Rocha and Uma, duas, três princesas (2013), by Ana Maria Machado. To support the analysis, we find theories that justify affirm that the social function, the language, the internal ethics and the upgradeability of the folktale configure it as a text, which if legitimized by the community that receives, makes possible the transmission of abstract values. To understand how children\'s literature has appropriated the folktale, we investigated the relationship between the mentality of primitive man and child and their approaches regarding the perception of reality. The works were situated in a socio-historical context, discussing children\'s literature amid the paradigms and mentality changes in our society, which ultimately influence the female representation. The values considered female gender were approached in historical perspective and of the study of genres. We justified the choice of works investigating the relationship between the hero\'s journey and the male and female in the rites of initiation into adulthood, with intent to understand to what extent this journey can be considered a metaphor for the human condition. Were presented and commented an overview of works of the twentieth century in Brazil in which there is the figure of the princess. In corpora analysis, were compared the relationships between the figure of the princess and the family, the preparing for the journey and the aspects valued on each journey. We believe that the narrative follows the discourse on women in each time and are projected on the practice of the next generation, transposes the representation of women as an individual for transfigure into a metaphor of the women\'s status in society.

Através de uma leitura comparativo-contrastiva da tradição da lírica medieval galego-portuguesa e da poesia de Trovas de muito amor para um amado senhor, volume publicado pela escritora brasileira Hilda Hilst (1930 2004) em 1960, este trabalho propõe uma leitura dos modos pelos quais essa tradição constitui-se em estratégia privilegiada pela autora para a elaboração de uma subjetividade poética que só se pode afirmar e constituir plenamente na presença do Outro. Nesse sentido, a própria escrita poética definir-se-ia como incessante movimento de busca de um amado ausente, cuja condição permitiria aproximá-lo à noção do absolutamente Outro, postulada pelo filósofo Emmanuel Lévinas. Assim, enquanto impulso desejante condenado inevitavelmente ao malogro, o poema dobrar-se-ia sobre si mesmo, movimento do qual resultaria uma lírica de amor ao próprio texto poético. / Through a comparative-contrastive reading of the medieval Galician-Portuguese lyric tradition and of the poetry of Trovas de muito amorpara um amado senhor, volume published by the Brazilian writer Hilda Hilst (1930- 2004) in 1960, this work proposes a reading of the ways through which this tradition constitutes itself in a strategy privileged by the author for the elaboration of a poetic subjectivity that can only affirm and fully constitute itself in the presence of The Other. In that sense, the poetic writing would define itself as a ceaseless movement in search of an absent lover, whose condition would allow to approximate it to the notion of the absolutely Other, postulated by the philosopher Emmanuel Lévinas. Thus, as a desiring impulse inevitably condemned to frustration, the poemwould unfold on itself, a movement from which a lyric of love for the poetic text itself would result

O presente estudo tem como objetivo primeiro o da perversidade contida nas paráfrases verbo-visuais dos contos de fada, por meio da análise de algumas das obras da escritora portuguesa Adília Lopes e da artista plástica de origem lusitana Paula Rego. Utilizando de um estudo comparatista embasado principalmente num arcabouço teórico transdisciplinar com a psicanálise freudiana, junguiana e lacaniana, este trabalho procura conceituar o termo perversidade para, posteriormente, demonstrar processos pelos quais determinados textos podem assumir versões cuja perversidade nas relações das personas / personagens são materializadas, em função de diferentes momentos sócio-político-culturais, além de conservarem subjacentes elementos de ordem subjetiva ao dialogarem com seus leitores. A fim de melhor compreensão da nossa análise, expomos sucintamente, parte da base teórica prática de suporte que respondeu a questão: - Quais mecanismos envolveriam o processo analítico e do sentido narrativo engendrados a partir dos textos para interpretar os signos verbais e não verbais? Partindo de um breve estudo entre as obras e suas relações com a sociedade e a política, também este trabalho precisou lançar mão considerações fundamentais do processo de conhecimento: a cognição. / The present study aims first study of perversity paraphrases contained in verb-visual fairy tales, through the analysis of some of the works of the Portuguese writer and artist Adília Lopes Plastic origin Lusitanian Paula Rego. Using a comparative study based, especially in a basement theoretical transdisciplinary with Freudian, Jungian and Lacanian, this research seeks to conceptualize the term evil to subsequently demonstrate the processes by which certain texts may take versions whose perversity in relations of personas / characters are materialized due to different moments socio-political-cultural, and retain the underlying elements of subjective order to dialogue with your readers. In order to better understanding of our analysis, we explain briefly the theoretical basis of practical support that answered the question: - What mechanisms involve the analytical process and narrative sense engendered from the texts to interpret the verbal and nonverbal signs? Starting from a brief study of the relationships between the works and their relationship to society and politics, also this work also had to resort to fundamental considerations of process knowledge: cognition.

A proposta do presente trabalho é estudar a poesia de Manuel Bandeira, atentando para o diálogo que nela se estabelece entre a lírica medieval e a lírica moderna. A partir da análise de determinadas composições, indica-se as ideias tópicas (os topoi) da Idade Média reinterpretadas e reelaboradas na poética de Bandeira tais como: a inacessibilidade do ser amado, a consagração da submissão absoluta, humilde e paciente e a total entrega bem como se aponta a releitura de certos tópicos, como o senhal e a não-nomeação da amada, no contexto da modernidade e do modernismo brasileiro. / The proposal of this study is to analyse and interpret Manuel Bandeira´s poetic production, focusing on the dialogue entertained between the medieval and the modern poetry. Considering the analysis of certain poems of the Brazilian poet, we aim at eliciting the main ideas from the Middle Age that can be reinterpreted and reelaborated in Bandeira´s poetic works for instance: inacessibility of the loved person, total submission and subservience, and the humble and patient attitude of the troubadour towards the lady as well as the intention is to indicate the different approach to certain procedures, including senhal and the convention that prescribes that the identity of the beloved lady has to be maintained in secret, unveiled all this in the context of modernity and Modernism in Brazil.

Made available in DSpace on 2015-09-25T12:23:41Z (GMT). No. of bitstreams: 1 Ivon Rabelo Rodrigues.pdf: 663816 bytes, checksum: 1fb6091061264073f23dfbbc409a500d (MD5) Previous issue date: 2010-04-05 / The short stories Lucas, Naim (1977) and Rútilo NADA (1993), written by Hilda Hilst (1930-2004) are placed side by side in order to articulate a set of glaring evidence of a distinction which violates common sense. In these texts, mature men fall in love for younger men and they accept humiliation and brutal death the price paid for refusing the moral up. We seek to think about the ego's reaction to the denial of passion and the consequent acceptance of self-destructive instincts and how does it affects the behavior of the characters, focusing on how psychoanalysis theoretically cut the death instincts. This approach considers all human behavior motivated by escape from pain and the pursuit of pleasure. Sigmund Freud (1856-1939) argued that this relationship is influenced by innate energy that overwhelm the body to a discharge, describing them as two antagonistic: the instinct of a sexual nature with a tendency to preservation of life (Eros) and its antagonist (Thanatos), a instinct that leads to the segregation of all that is alive. Both never act in isolation, because they are always working together. This research enabled us to know the author s mechanisms that rework and update the concept of life instinct symmetry in the destructive instinct. Through a procedural line of comparative perspective, using theoretical assumptions that reveal and prioritize the textuality, it became evident relations discourse about the events of Death and Love as thematic elements of the texts approximated. The scope of our contribution in this procedure is the major premise of intratextuality: how we developed certain themes that are unfold in Lucas, Naim and reconfigured in Rútilo NADA. / Os contos Lucas, Naim (1977) e Rútilo NADA (1993), escritos pela paulista Hilda Hilst (1930-2004) são postos lado a lado a fim de articularem um conjunto de evidências flagrantes de uma distinção que fere o senso comum. Nesses textos, homens maduros se apaixonam por homens mais jovens e terminam aceitando com humilhação e morte brutais o preço pago pela recusa à moral instituída. Intentamos refletir em que medida a reação do ego à negação da paixão e à consequente aceitação da pulsão autodestrutiva interfere no comportamento dos personagens, enfocando o modo como a Psicanálise teoricamente recorta a pulsão de morte. A abordagem freudiana considera todo comportamento humano motivado pela fuga da dor e pela busca do prazer. Sigmund Freud (1856-1939) argumentou que essa relação é influenciada por energias inatas que pressionam o organismo para uma descarga, descrevendo duas delas como antagônicas: a pulsão de natureza sexual com tendência à preservação da vida (Eros) e o seu antagônico (Tanatos), uma pulsão que leva à segregação de tudo que é vivo. Ambas nunca agem de forma isolada, pois que estão sempre atuando em conjunto. Este trabalho possibilitou-nos conhecer os mecanismos pelos quais a instância autoral reelabora e atualiza o conceito de pulsão de vida em simetria às pulsões destrutivas. Através de uma linha procedimental de perspectiva comparada, utilizando pressupostos teóricos que revelam e priorizam a textualidade, evidenciaram-se as relações discursivas acerca das manifestações da Morte e do Amor como elementos temáticos dos textos aproximados. O alcance de nossa contribuição neste procedimento é premissa maior da intratextualidade: deflagramos o modo como determinadas temáticas aventadas em Lucas, Naim estão desdobradas e reconfiguradas em Rútilo NADA.