Made available in DSpace on 2014-12-17T15:04:59Z (GMT). No. of bitstreams: 1 MauricioFP_DISSERT.pdf: 1690340 bytes, checksum: 9a1267ae36e79496057994060ba6ce3e (MD5) Previous issue date: 2012-08-14 / La ense?anza de problemas se ha investigado en la did?ctica de las ciencias naturales como un medio importante para desarrollar el aprendizaje de los conocimientos cient?ficos y la formaci?n de competencias b?sicas. Dada la importancia de los libros de texto para la ense?anza de la ciencia, con el fin de verificar el enfoque de la ense?anza con problemas en los libros de qu?mica, se procedi? a una investigaci?n realizada en las obras aprobadas en PNLD 2012, basado en el m?todo de An?lisis de Contenido. Se analiz? el contenido de la estructura at?mica, como marco te?rico la perspectiva de la ense?anza probl?mica, basada en el materialismo hist?rico y dial?ctico. Metodol?gicamente la investigaci?n presenta un car?cter cualitativo. Los resultados del an?lisis de contenido corroboraron la cuestiones de estudio iniciales relacionadas con la explicaci?n centr?ndose en los problemas, lo que permiti? inferir la elaboraci?n de una Unidad Didactica basada en los m?todos probl?micos para la ense?anza de los modelos at?micos por la exposici?n probl?mica, la conversaci?n heur?stica y la busca parcial, como forma de aproximar los estudiantes a la naturaleza de las ciencias naturales y contribuir al desarrollo de actitudes positivas en el aprendizaje de la qu?mica / O Ensino por Problemas tem sido investigado na Did?tica das Ci?ncias Naturais como um meio importante de desenvolver a aprendizagem de conhecimentos cient?ficos e formar compet?ncias b?sicas. Diante da import?ncia dos livros did?ticos para o ensino de Ci?ncia, com o intuito de verificar a abordagem do ensino por problemas nos livros de Qu?mica, procedeu-se uma pesquisa nas obras aprovadas no PNLD 2012, baseada no m?todo de An?lise de Conte?do. Foi analisado o conte?do Estrutura At?mica, tendo como referencial te?rico a perspectiva do Ensino Probl?mico, fundamentada no materialismo hist?rico dial?tico. Metodologicamente a pesquisa apresentou car?ter qualitativo. Os resultados da an?lise de conte?do corroboraram as quest?es de estudo iniciais relacionadas ao enfoque na explica??o por problemas, cujas infer?ncias permitiram elaborar uma Unidade Did?tica baseada nos m?todos probl?micos, para o ensino dos modelos at?micos mediante a exposi??o probl?mica, a conversa heur?stica e a busca parcial, como forma de aproximar os estudantes ? natureza das ci?ncias naturais e contribuir com o desenvolvimento de atitudes positivas na aprendizagem de Qu?mica

Made available in DSpace on 2014-12-17T15:05:04Z (GMT). No. of bitstreams: 1 AdrianaDPP_DISSERT.pdf: 4427297 bytes, checksum: 037d5aa21cfd42503fde44bd8506ef46 (MD5) Previous issue date: 2013-09-16 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / As concep??es alternativas s?o ideias dos estudantes sobre conhecimentos espec?ficos, constituindo-se em uma causa importante que pode levar a erros conceituais, dificultando a aprendizagem significativa de conceitos cient?ficos, especialmente aqueles com alto grau de abstra??o, como biologia celular e gen?tica. Objetivou-se, com este trabalho, avaliar as dificuldades de aprendizagem de estudantes de ensino fundamental sobre conceitos de gen?tica, em uma escola da rede p?blica no Estado do RN. Para identifica??o das concep??es alternativas sobre c?lula, cromossomos, genes, DNA e hereditariedade, foram utilizados desenhos e question?rio, contendo quest?es abertas e fechadas. Realizou-se uma an?lise dos limites e potencialidades dos question?rios e desenhos como instrumento diagn?stico de concep??es alternativas. Usou-se uma abordagem qualitativa, com breve ?nfase quantitativa. Foram categorizados cinco n?veis de entendimento conceitual: sem compreens?o (SC); compreens?o parcial (CP); compreens?o coerente (CC); compreens?o incoerente (CI); compreens?o parcial e incoerente (CP/CI). As concep??es alternativas evidenciadas foram caracterizadas pela falta de entendimento em torno dos n?veis de organiza??o celular, identifica??o e localiza??o das partes constituintes da c?lula e do material gen?tico, e incompreens?o do fen?meno da hereditariedade. As concep??es alternativas apontam para origem sensorial, cultural e escolar, principalmente dos livros did?ticos, evidenciadas pela express?o de obst?culos verbais e conhecimento pragm?tico. Observou-se maior lacuna no conhecimento sobre o material gen?tico (cromossomo) do que sobre as c?lulas. A partir da avalia??o dos limites e possibilidades dos instrumentos usados, indicou-se o uso associado de quest?es abertas, desenhos e entrevistas, para identificar, com mais precis?o, as concep??es alternativas em estudantes. Como forma de superar as dificuldades de aprendizagem de conceitos sobre gen?tica, diagnosticadas a partir da identifica??o das concep??es alternativas dos estudantes, foi proposta uma unidade de ensino potencialmente significativa (UEPS), visando a contribuir com o planejamento da a??o pedag?gica do professor que busca minimizar as dificuldades de ensino e aprendizagem em torno do tema. Evidencia-se que o conhecimento sobre as concep??es alternativas dos estudantes se constitui um elemento essencial para orientar o planejamento e a pr?tica pedag?gica do professor, buscando evitar a perman?ncia das concep??es alternativas nos n?veis subsequentes de ensino

Made available in DSpace on 2014-12-17T15:08:35Z (GMT). No. of bitstreams: 1 YuriBA_DISSERT.pdf: 1060818 bytes, checksum: 6f235d80bea42245711a85d0c7f3ec49 (MD5) Previous issue date: 2014-06-06 / The transmedia storytelling is a phenomenom recently conceptualized theoretically (JENKINS, 2009), arising from ficcional mediatic products and disseminated as well by the use on other fields. This search aims to analyze how the transmedia storytellings can be applied to journalism on the basis of an specific genre, the reporting. To that, take as reference theoretical developments performed by brazilian authors (FECHINE et al., 2011, 2012, 2013), on the basis of televisive fiction, which culminated on concepts as transmediation and transmedia contents and deepened the comprehension and the research in this area. Thenceforth, this study propone a problematization and apropriation of this theoretic support for the journalism field, using, for that, a comprehension of journalistic production on a speech level, as well as its social practices (newsmaking). The empiric research also take two different paths. First, analyze a group of reportings, in which there is transmediation, in order to verifying the configuration of the transmedia phenomenom - more specifically of the transmedia storytelling - and its particularities to journalism. Then, develops an investigation, based on the etnographic method, of the productive routine on the special reporting section of the Jornal do Commercio (Recife/PE), aiming to investigate the conditions of transmediation in this range and the practices that favor and difficult the employment of transmedia storytelling. The result are, therefore, compared and related, with the goal of providing multidimensional view of the phenomenom / A narrativa transm?dia se trata de fen?meno de recente conceitua??o te?rica (JENKINS, 2009), surgida a partir da an?lise de produtos midi?ticos ficcionais e disseminada tam-b?m por meio da aplica??o em outros campos. Esta disserta??o busca analisar como as narrativas transm?dias podem ser aplicadas ao jornalismo tendo por base um g?nero espec?fico, a reportagem. Para isso, se referencia em desdobramentos te?ricos realizados por autores brasileiros (FECHINE et al., 2011, 2012, 2013), tendo por base a fic??o te-levisiva, que resultaram em conceitos como transmidia??o e conte?dos transm?dias e aprofundaram a compreens?o e a pesquisa na ?rea. A partir da?, o trabalho prop?e uma problematiza??o e apropria??o de tal suporte te?rico para o campo do jornalismo, se utilizando, para isso, de uma compreens?o do fazer jornal?stico tanto ao n?vel discursivo (CHARAUDEAU, 2009a) como de suas pr?ticas sociais (newsmaking). A pesquisa em-p?rica tamb?m faz um duplo percurso. Primeiro, analisa um conjunto de reportagens nas quais existe transmidia??o, de modo a verificar a configura??o do fen?meno transm?dia e mais especificamente da narrativa transm?dia e suas peculiaridades no jornalismo. Em seguida, desenvolve uma investiga??o, baseada no m?todo etnogr?fico, das rotinas produtivas do setor de reportagens especiais do Jornal do Commercio (Recife/PE), com o objetivo de apurar as condi??es em que se d? a transmidia??o nesse ?mbito e as pr?ti-cas que favorecem e dificultam o emprego da narrativa transm?dia. Os resultados s?o, assim, comparados e relacionados, com o objetivo de proporcionar uma vis?o multidi-mensional do fen?meno

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-27T12:56:02Z No. of bitstreams: 1 RafaelJoseAlvesDoRegoBarros_TESE.pdf: 2689565 bytes, checksum: 3a94a6c7cf716f501f982b5d7837da4b (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-31T11:36:30Z (GMT) No. of bitstreams: 1 RafaelJoseAlvesDoRegoBarros_TESE.pdf: 2689565 bytes, checksum: 3a94a6c7cf716f501f982b5d7837da4b (MD5) / Made available in DSpace on 2017-01-31T11:36:30Z (GMT). No. of bitstreams: 1 RafaelJoseAlvesDoRegoBarros_TESE.pdf: 2689565 bytes, checksum: 3a94a6c7cf716f501f982b5d7837da4b (MD5) Previous issue date: 2016-07-29 / O presente trabalho originou-se do projeto de pesquisa Cartografias da Produ??o em Hist?ria da Matem?tica no Brasil: um estudo centrado nas disserta??es e teses defendidas entre 1990 e 2010, com o objetivo geral de investigar os potenciais did?ticos das Pesquisas em Hist?ria e Epistemologia da Matem?tica produzidas nas disserta??es e teses, nos programas de p?s-gradua??o do Brasil neste per?odo, sugerindo encaminhamentos did?ticos para o ensino de conte?dos matem?ticos do Ensino M?dio. Inicialmente, descrevemos os artigos de Hist?ria e Epistemologia da Matem?tica publicados no Encontro Nacional de Educa??o Matem?tica ? ENEM, no per?odo de 1987 a 2010. Em seguida, classificamos os artigos da Revista Brasileira de Hist?ria da Matem?tica, segundo as tend?ncias em Hist?ria da Matem?tica, de acordo com Mendes (2010, 2014), e caracterizamos cada artigo de Hist?ria e Epistemologia da Matem?tica publicados no per?odo de 2001 a 2012. Descrevemos as disserta??es e teses produzidas nos Programas de P?s-Gradua??o do Brasil em Hist?ria e Epistemologia da Matem?tica no per?odo de 1990 a 2010, encontradas nas bibliotecas virtuais, e analisamos cada trabalho publicado neste per?odo, verificando quais temas matem?ticos s?o abordados e apontando os potenciais did?ticos para o Ensino M?dio. Para que nossa pesquisa se desenvolvesse, elaboramos nossa Matriz Paradigm?tica, com base nas ideias de S?nchez Gamboa (2012), e utilizamos como objeto de estudo quarenta e sete disserta??es e teses no per?odo entre 1990 e 2010. Entre elas, encontramos trinta disserta??es e teses que envolvem conte?dos do Ensino Superior, dezenove disserta??es e onze teses e dezessete trabalhos que envolvem conte?dos do Ensino M?dio, dez disserta??es e sete teses. Para identificar se uma disserta??o ou tese abordava conte?dos do Ensino M?dio, usamos como par?metro as ?reas de conhecimentos do Exame Nacional do Ensino M?dio, ENEM, e, para classificar os conte?dos de Ensino Superior, tomamos como refer?ncia as grandes ?reas da matem?tica encontradas no site da Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior ? CAPES. Defendemos a tese de que existem Disserta??es e Teses de Hist?ria e Epistemologia da Matem?tica produzidas nos programas de p?s-gradua??o do Brasil entre 1990 e 2010, com potencialidades did?ticas para o Ensino M?dio, que podem ser utilizados para abordar conceitos matem?ticos na Educa??o B?sica a partir de uma reorganiza??o pedag?gica adequada ao Ensino M?dio. E tentamos mostrar a abund?ncia de material que consta nestes trabalhos, que podem, de alguma forma, ser inseridos na nossa pr?tica docente, focalizando aqueles trabalhos que abordam conte?dos do Ensino M?dio, pois, muitas vezes, essas disserta??es e teses, depois de defendidas, pouco s?o utilizadas e s?o esquecidas nas bibliotecas. Essa tese servir? para a dissemina??o destas publica??es para um p?blico maior, no sentido de possibilitar uma divulga??o dos conte?dos matem?ticos que podem ser explorados para abordar conceitos matem?ticos na Educa??o B?sica. / This work originated from the Cartografias research project Production in History of Mathematics in Brazil: a study focused on dissertations and theses between 1990 and 2010, with the overall goal of investigating the educational potential of Research in History and Epistemology of Mathematics produced in dissertations and theses in Brazil graduate programs in this period, suggesting learning referrals for teaching mathematical content of high school. Initially, we describe the History and Epistemology of Mathematics articles published in Mathematics Education National Meeting - ENEM, from 1987 to 2010. Then classify the articles of the Journal of History of Mathematics, according to the trends in the history of mathematics, according to Mendes (2010, 2014), and each feature History and Epistemology of Mathematics article published from 2001 to 2012. we describe the dissertations and theses produced in Brazil Graduate Program in History and Epistemology of Mathematics in the period 1990-2010, found in the virtual libraries, and analyze each published over this period, which mathematical topics are addressed and pointing to the potential for teaching high school. For our research to develop, we make our Paradigmatic Matrix, based on S?nchez Gamboa ideas (2012), and used as an object of study forty-seven dissertations and theses in the period between 1990 and 2010. Among them, we find thirty dissertations and theses involving content of higher education, nineteen dissertations and theses eleven and seventeen jobs involving high school content ten dissertations and theses seven. To identify whether a dissertation or thesis addressed high school content, used as a parameter the areas of expertise of the National Examination of high school, ESMS, and to classify the higher education content, we take as reference the major areas of mathematics found at of Higher Education Personnel Improvement Coordination - CAPES. We defend the thesis that there are History Dissertations and Theses and Epistemology of Mathematics produced in graduate programs in Brazil between 1990 and 2010, with didactic potential for secondary education, which can be used to address mathematical concepts in basic education from adequate pedagogical reorganization to high school. And we try to show the wealth of material contained in these works, which may somehow be inserted into our teaching practice, focusing on those works that address high school content, because often these dissertations and theses, after advocated, they are little used and forgotten in libraries. This thesis will serve to disseminate these publications to a wider audience, to enable dissemination of mathematical content that can be explored to address mathematical concepts in basic education.

Écrivain dramatique, romancier, nouvelliste et conteur, Carlo Collodi (1826-1890), à sa mort, est avant tout reconnu comme un journaliste de talent, auteur apprécié de livres pour enfants. Paradoxalement, l’œuvre de Collodi, sous la plume de ses biographes les plus célèbres, devient ensuite celle d’un seul livre : Le avventure di Pinocchio. Storia di un burattino (1883), un chef-d’œuvre isolé « écrit par hasard » (selon l’expression de P.Pancrazi). La recherche récente de type philologique – en particulier les travaux de Daniela Marcheschi – réinsère Pinocchio dans un ensemble littéraire faisant fonction d’atelier de création, dans lequel se sont élaborés les outils stylistiques et thématiques ancillaires de l’œuvre majeure. Une étude intertextuelle, ainsi qu’une approche de type anthropologique, de l’ensemble du corpus collodien, montrent que Pinocchio est l’aboutissement d’une recherche existentielle : le projet collodien, paré de la magie des contes de fées, explore les limites du vivant et de l’inanimé, il pose la question de l’intégrité des êtres. L’analyse textuelle révèle que l’auteur a tenté, avec Pinocchio, une opération de « reproduction », de régénération, un engendrement sans la mère: la création du pantin n’est pas celle d’un être nouveau mais initialement celle d’un double du vieillard, rajeuni. Voilà pourquoi « l’enfant parallèle », auquel Collodi donne corps, n’est pas le fruit d’un désir de paternité classique, mais l’objet d’une entreprise chimérique visant à refuser le destin mortel de l’homme. / Carlo Collodi (1826-1890) playwright, novelist, short story writer and storyteller was, at his death, known primarily as a talented journalist and author of popular books for children. Paradoxically, Collodi’s work, according to his most famous biographers, had been reduced to a single book: Le avventure di Pinocchio. Storia di un burattino (1883), an isolated masterpiece "written by chance" (in the words of P. Pancrazi). Recent philological research - in particular the work of Daniela Marcheschi - reinserts Pinocchio into a literary corpus that functioned as a creative writing workshop, in which the stylistic and thematic tools subordinate to the main work were developed. An intertextual study and an anthropological approach to the complete works of Collodi show that Pinocchio is the culmination of an existential search: Collodi’s design, adorned with the magic of fairy tales, is to explore the limits of the animate and the inanimate and raise the question of the integrity of the human being. Textual analysis shows that what the author attempted with Pinocchio is a project of reproduction or regeneration, a sort of engendering without the mother: the puppet he created is not initially a new being, but rather a duplicate of the old man rejuvenated. That is why "the parallel child " to which Collodi gives life stems not from the desire for traditional paternity, but from the impossible dream of refusing the mortal destiny of man.

Cette thèse analyse le mythe fondateur des Mille et une nuits, ou « mythe de Shéhérazade », par une approche psychanalytique et comparatiste. Nous mettons en évidence que le récit-cadre des Nuits constitue un récit mythique, miroir de l’imaginaire collectif, qui révèle la place de la femme, du féminin et du maternel dans le processus de civilisation.En effet, les Nuits s’ouvrent sur un double adultère et un double meurtre: deux femmes, sultanes, trompent leur époux avec un esclave noir. Ce désir féminin transgressif est le déclencheur de tout le recueil. Il constitue le péché originel qui entraîne la déchéance et le chaos. Shahrayar, tel le patriarche de la horde primitive freudienne, se venge et instaure le meurtre de la femme comme loi. La parole infinie de Shéhérazade, à la fois amante et mère, crée une zone transitionnelle féconde et mène le sultan à renoncer à la jouissance éphémère pour entrer dans le champ de la sublimation et du symbolique. Par la fonction symbolique du langage, la conteuse conduit le tyran à advenir sujet, parlêtre, soumis aux lois fondamentales de la civilisation.Nous analysons l’évolution de la dialectique du féminin, du maternel et des lois symboliques dans les réécritures, imitations, pastiches, perversions, parodies, tragédies, suites et adaptations musicales du mythe de Shéhérazade du XVIIIe au XXIe siècle. / This thesis analyzes the founding myth of the Arabian Nights, or « myth of Scheherazade », with a psychoanalytical and comparative approach. This research points that the frame story of the Nights is a mythical story that constitutes the mirror of the collective imagination, which reveals the place of the woman, the feminine and the maternal in the process of civilization.The Nights open on a double adultery and a double murder scene: two sultanas commit adultery with a black slave. This transgressive feminine desire is the trigger of the Arabian Nights' collection. It constitutes the original sin that leads to the forfeiture and the chaos. Shahrayar, such as the patriarch of the Freudian primal horde, decides to take revenge on them and institutes as a law the murder of women. The infinite word of Scheherazade, who is at the same time lover and mother, creates a transitional fertile space and leads the sultan to give up the temporally enjoyment to enter the field of the sublimation and symbolism. With the symbolic function of the language, the storyteller leads the tyrant to become parlêtre, subject to the fundamental laws of civilization.We examine the rewritings, imitations, pastiches, perversions, parodies, tragedies, continuations and musical adaptations of the myth of Scheherazade from eighteenth to the twenty-first century, to analyze the dialectic’s evolution of the feminine, the maternal and the symbolic laws.

L’objet de la présente recherche est l’étude de l’accessibilité des enfants lecteurs à la réception de l’élément parodique, présent dans les œuvres littéraires d’Eugène Trivizas, auteur grec d’une grande renommée dans la littérature d’enfance. Ceci concerne toute forme de parodie et à tous les niveaux où elle pourrait se produire, des conditions dans lesquelles elle se produit, des facteurs qui favorisent sa réalisation et des manières par lesquelles elle pourrait être aperçue. Par ailleurs la recherche se propose de vérifier si les fonctions des parodies de Trivizas estimées « libératrices » ont bien eu cet effet sur les jeunes lecteurs et si la poétique parodique de l’auteur contribue à la création du jeune lecteur critique. L’étude des résultats de la recherche réalisée avec des élèves des écoles maternelles et primaires en Grèce aboutit aux convictions suivantes: a. La réceptivité parodique des enfants lecteurs concernant l’œuvre d’Eugène Trivizas peut être réalisable à certaines conditions. b. La communication parodique suscitée dans les œuvres littéraires d’Eugène Trivizas, possède la dynamique de fonctionner au niveau de la socialisation et de la politisation des jeunes lecteurs. / The object of the present research is to investigate the capabilityof children readers to perceive the parodic element which emerges in the literary texts of Eugene Trivizas, one of the most renounced Greek writers of children' s literature. This concerns every form of parody, also the levels on which it is produced, the circumstances under which it is produced, and finally the factors which favour its realisation and the ways in which it can function. Furthermore, this research aims at verifying whether the functions of parody in the work of Eugene Trivizas which are conceived as "liberating" have, indeed, this impact on children readers and whether the parodic poetics of the writer contributes to the creation of a young critical reader. The study of the results of the research which was carried out on pupils of nursery and primary schools of Greece leads to the following two conclusions: a. The reception of the parodic element in the work of Eugene Trivizas is feasible/ possible under certain circumstances. b. The communication of parody possesses the dynamics to lead towards the socialisation and politicalisationof young readers.

La présente thèse étudie le développement historico-esthétique du conte littéraire polonais au XXe siècle sur la base d’un corpus qui s’étend de la Jeune Pologne à 1989, en se limitant à la littérature pour adultes. Cette étude se combine avec une réflexion théorique sur la nature du conte en tant que forme littéraire et propose l’outil de la convention pour cerner sa dynamique et sa polymorphie. Dans le conte, nous distinguons quatre niveaux de convention :le monde représenté, les motifs, la narration et le style. Les modèles conventionnels de ces quatre catégories, exposés dans le premier chapitre, servent de repères pour évaluer l’apport des écrivains à la convention du conte dans les deuxième et troisième chapitres. Le deuxième chapitre met en évidence le dynamisme historique qui anime le conte au XXe siècle dans la littérature polonaise, tandis que la troisième partie dégage de façon transversale les principales tendances esthétiques dans l’écriture féerique. Ainsi, le fil de la convention permet de tracer un panorama historique ainsi que de dégager les tendances esthétiques majeures du conte dans la littérature polonaise du XXe siècle, se révélant par là un outil pertinent dans l’étude du conte littéraire. Notons enfin que cette étude du conte littéraire offre un nouveau regard sur quelques uns des écrivains majeurs de la littérature polonaise du XXe siècle :B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrozek, Cz. Milosz et bien d’autres. /<p><p>Based on a wide corpus of adult literature, the present doctoral thesis is devoted to the historical and esthetical development of Polish literary fairy tale in the twentieth century from the Young Poland to the year 1989. It proposes at the same time a theoretical reflection on the literary form of fairy tale. Accordingly the convention is used as the main tool to apprehend its dynamics and its polymorphism. In the fairy tale, four conventional levels can be distinguished: represented world, motives, narration and style. Presented in the first chapter, the conventional models of theses four categories are used as reference points to gauge writers’ contribution to the fairy-tale convention in the second and the third chapters. The second chapter highlights historical dynamism of the fairy tale in Polish literature of the twentieth century, while the third part draws transversally the main esthetical tendencies in fairy-tale writing. Therefore the convention allows to outline an historical panorama and to define the main esthetical tendencies in Polish literature of the twentieth century, which proves its relevance in the study of literary fairy tale. Moreover this study of literary fairy tale takes a fresh look at some of the most important Polish writers of the twentieth century: B. Lesmian, W. Gombrowicz, St. I. Witkiewicz, Br. Schulz, T. Konwicki, St. Lem, Sl. Mrożek, Cz. Milosz. <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

L’œuvre littéraire de Boris Vian interpelle par la diversité des émotions qu’elle suscite. Elle est pourtant restée longtemps méconnue, masquée par les talents protéiformes de son auteur. Boris Vian, dont la majorité des textes ont été publiés à titre posthume, fut perçu comme un touche-à-tout avant d’être véritablement reconnu comme écrivain, pour finalement entrer dans l’édition de la Pléiade en 2010, cinquante et un an après sa mort. Le premier réflexe est de faire appel à la notion de fantaisie pour analyser son œuvre. Le monde fictionnel qu’il crée est un univers fantaisiste où triomphent imaginaire et inventivité. Pourtant, des univers contradictoires s’entremêlent : féerie et cruauté, légèreté et inquiétude, désinvolture et gravité, imaginaire et réalité. En nous appuyant uniquement sur les textes de fiction en prose (romans, nouvelles et pièces de théâtre), nous nous sommes donc interrogés sur la légitimité de la notion de fantaisie. Son évidence apparente résiste-t-elle à un examen plus poussé ? Ce questionnement nous a conduits à élaborer la notion de « fantaisie noire ». Tantôt féerique, invraisemblable, langagière, comique ou parodique, la fantaisie se heurte à l’intériorité des personnages et à un sentiment d’inquiétude qui contamine les êtres et les choses. La fantaisie cède le pas à la noirceur d’un monde étouffant où le fantasme se révèle dans toute sa puissance. Le retour à la fantaisie n’est alors possible que par des effets de distanciation comiques et une inventivité langagière qui contribue à laisser l’œuvre ouverte. / Boris Vian's literary work calls to mind by the feelings it arouses. For a long time it nevertheless remained unknown concealed by its author's protean talents. Boris Vian, whose texts were mostly published posthumously, wasn't at the beginning seen as a writer to finally get in the Pléiade in 2010, 51 years after his death. To analyse his work it appears natural to consider the idea of fantasy. The fictional world he created remains a fantasist one where imagination and inventiveness prevail. Yet, opposing worlds get mixed up: fairy and cruelty, casualness and anxiety, indifference and seriousness, fantasy and reality. Considering only the fictional texts in prose (novels, short stories and plays) we questionned the legitimity of the fantasy notion. Does its obviousness withstand a further analysis? This questioning drove us to the idea of 'fantaisie noire'. Sometimes magical, incredible, linguistic, comical or parodic, the fantasy collides with the inwardness of the characters and with an anxiety that contaminates both beings and objects. The fantasy defers to an oppresive world where the dream reveals itself in all its power. The come back to fantasy is then only possible by comical detachments and a linguistic inventiveness that contributes to let the work opened.

Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte. / The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional4characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.