A quelle période du sommeil se produisent les rêves ? Introduite de manière inaugurale dans les Sciences de l’Esprit par l’érudit et autodidacte Alfred Maury (1817-1892), la question de la temporalité du rêve au cours du sommeil mobilise depuis deux siècles l’attention des neurologues qui ont une approche organiciste du phénomène onirique. Ainsi, la célèbre découverte du « sommeil paradoxal » par le neurochirurgien Michel Jouvet (1925-2017) s’inscrit dans cette logique qui consiste à situer la période des rêves au cours du sommeil en s’appuyant sur un support neurobiologique. Cependant, s’il est vrai que Sigmund Freud (1956-1939) semble avoir découvert en Maury un précurseur – comme les autres neurologues qui étudient les rêves -, la position freudienne sur la durée des rêves tranche avec celle des organicistes : « le rêve est le gardien du sommeil », donc il dure aussi longtemps que cet état de torpeur qu’il maintient. Cette incompatibilité des approches neuroscientifique et psychanalytique donnera lieu à une série de travaux transdisciplinaires sur les rêves dont le but est de réduire le fossé abyssal séparant les deux champs d’investigations. Toutefois, les amalgames et les difficultés d’ordre épistémologique qui émergent de ces tentatives de rapprochement peuvent être surmontés, si l’on tient compte des propositions que nous faisons dans ce travail de recherche. / In what period of the sleep occur the dreams? Introduced in a inaugural way into the Sciences of the Spirit by the scholar and the self-taught Alfred Maury ( 1817-1892 ), the question of the temporality of the dream during the sleep mobilizes for two centuries the attention of the neurologists who have an organiciste approach of the dreamlike phenomenon. So, the famous discovery of the "REM sleep" by the neurosurgeon Michel Jouvet ( 1925-2017 ) joins in this logic which consists in placing the period of the dreams during the sleep resting on a neurobiological support(medium). However, it is true that Sigmund Freud ( 1956-1939 ) seems to have discovered in Maury a precursor - as the other neurologists who study the dreams-, the Freudian position on the duration of the dreams cuts with that of the organicistes: " the dream is the guard of the sleep ", thus he(it) lasts as long as this state of torpor which he(it) maintains. The incompatibility of the neuroscientific and psychoanalytical approaches will give rise to a series of interdisciplinary works on the dreams the purpose of which is to reduce the abyssal ditch(gap) separating both fields of investigations. Mixtures and difficulties of epistemological order which emerge from these attempts to approach can be surmounted(overcome), if we take into account proposals which we make in this research work.

O presente trabalho tem como objeto de estudo as narrativas do sonho produzidas por crianças, suas principais características e contribuições para o desenvolvimento da linguagem na criança. Neste sentido, o principal objetivo deste trabalho é identificar e descrever os organizadores dominantes no processo de construção das narrativas orais por crianças entre 6 e 7 anos, a fim de evidenciar a importância da escuta do interlocutor, bem como explorar as relações metalingüísticas presentes no encontro entre o adulto (= pesquisador) e a criança = sujeito). Assim, com base nessas produções, a análise levará em conta os aspectos discursivos e lingüísticos, os mecanismos do sonho, a construção das seqüências narrativas e os elementos lingüísticos pertinentes, como os marcadores conversacionais, os tempos verbais, a questão da subjetividade, entre outros. A proposta apresentada foi uma situação de relato a partir de uma mesma pergunta feita pela pesquisadora: Você já sonhou quando estava dormindo? Conte um sonho que já teve. Para examinar os desdobramentos obtidos nas respostas a esta indagação, nos apoiamos em referenciais teóricos psicanalíticos (Freud, Winnicott) e psicolingüísticos (F.François), sobretudo. Colocar na fala o sonho é um desafio e um prazer para a criança, na medida em que, nesse exercício, a criança, ao colocar-se como sujeito, tem possibilidade de ampliar suas habilidades comunicativas, entrar em contato com construções provindas de seu inconsciente e confirmar seu papel enquanto protagonista de sua história. É justamente isto que nos interessa desvendar para o leitor. / The present work has as object of study the narratives of dreams produced by children, its main characteristics and contributions for the development of child´s discourse. In this direction, the main objective is to identify and to describe the dominant organizers, in the process of construction of oral narratives from children between 6 and 7 years, in order to evidence the importance of the listening of the interlocutor, as well as exploring the metalinguistics relations current in the meeting between the adult (researcher) and the child (subject). Thus, on the basis of these productions, the analysis will take in account the discursive and linguistic aspects, the mechanisms of the dream, the construction of the narrative sequences, pertinent the linguistic elements, as the conversational markers, the verbal tenses, the question of the subjectivity, among others. The proposal presented was a situation of narrative from one same question made by the researcher: Have you ever dreamed when you were sleeping? Tell me a dream that you had. To examine the unfoldings gotten in the answers to this investigation, we use as references the psychoanalytical (Freud, Winnicott) and psycholinguistic (F.François) referential, over all. To place in words the dream is a challenge and a pleasure for the child, in the measure where, in this exercise, the child, when placing itself as subject, has possibility to extend its communicative abilities, to enter in contact with constructions come from its unconscious and to confirm its role as protagonist of its history. This is exactly what we intend to unmask for the reader.

O presente trabalho tem como objeto de estudo as narrativas do sonho produzidas por crianças, suas principais características e contribuições para o desenvolvimento da linguagem na criança. Neste sentido, o principal objetivo deste trabalho é identificar e descrever os organizadores dominantes no processo de construção das narrativas orais por crianças entre 6 e 7 anos, a fim de evidenciar a importância da escuta do interlocutor, bem como explorar as relações metalingüísticas presentes no encontro entre o adulto (= pesquisador) e a criança = sujeito). Assim, com base nessas produções, a análise levará em conta os aspectos discursivos e lingüísticos, os mecanismos do sonho, a construção das seqüências narrativas e os elementos lingüísticos pertinentes, como os marcadores conversacionais, os tempos verbais, a questão da subjetividade, entre outros. A proposta apresentada foi uma situação de relato a partir de uma mesma pergunta feita pela pesquisadora: Você já sonhou quando estava dormindo? Conte um sonho que já teve. Para examinar os desdobramentos obtidos nas respostas a esta indagação, nos apoiamos em referenciais teóricos psicanalíticos (Freud, Winnicott) e psicolingüísticos (F.François), sobretudo. Colocar na fala o sonho é um desafio e um prazer para a criança, na medida em que, nesse exercício, a criança, ao colocar-se como sujeito, tem possibilidade de ampliar suas habilidades comunicativas, entrar em contato com construções provindas de seu inconsciente e confirmar seu papel enquanto protagonista de sua história. É justamente isto que nos interessa desvendar para o leitor. / The present work has as object of study the narratives of dreams produced by children, its main characteristics and contributions for the development of child´s discourse. In this direction, the main objective is to identify and to describe the dominant organizers, in the process of construction of oral narratives from children between 6 and 7 years, in order to evidence the importance of the listening of the interlocutor, as well as exploring the metalinguistics relations current in the meeting between the adult (researcher) and the child (subject). Thus, on the basis of these productions, the analysis will take in account the discursive and linguistic aspects, the mechanisms of the dream, the construction of the narrative sequences, pertinent the linguistic elements, as the conversational markers, the verbal tenses, the question of the subjectivity, among others. The proposal presented was a situation of narrative from one same question made by the researcher: Have you ever dreamed when you were sleeping? Tell me a dream that you had. To examine the unfoldings gotten in the answers to this investigation, we use as references the psychoanalytical (Freud, Winnicott) and psycholinguistic (F.François) referential, over all. To place in words the dream is a challenge and a pleasure for the child, in the measure where, in this exercise, the child, when placing itself as subject, has possibility to extend its communicative abilities, to enter in contact with constructions come from its unconscious and to confirm its role as protagonist of its history. This is exactly what we intend to unmask for the reader.

Dans cette recherche, nous présentons le concept de «Réalité Évoquée» (« Evoked Reality ») afin d'essayer de relier différentes notions entourant la présence et la réalité au sein d'un cadre commun. Nous introduisons et illustrons le concept en tant que « illusion de la réalité » (Réalité Évoquée) qui évoque un « sentiment de présence » (Présence Évoquée) dans nos esprits. Nous distinguons les concepts de « Réalité Média-Évoquée » et « Réalité Auto-Évoquée » et nous les définissons clairement. Le concept de « Réalité Évoquée » nous permet d'introduire un modèle tripolaire de la réalité, qui remet en cause le modèle classique des deux pôles. Nous présentons également un modèle graphique appelé « Reality-Presence Map » (Carte Réalité-Présence) qui nous permet de localiser et d'analyser toutes les expériences cognitives concernant la présence et la réalité. Nous explorons également les qualia et la subjectivité de nos expériences de Réalité Évoquée. Deux expériences ont été réalisées : l'une dans le domaine de la Réalité Média-Évoquée et l'autre dans celui de l'Auto-Évoquée. Les expériences nous ont permis de valider nos hypothèses et de réaliser que nos recherches empiriques pouvaient encore être poussées plus loin encore. Enfin, nous illustrons les différentes implications et nous examinons les applications et les utilisations possibles de notre concept, en particulier dans le domaine de la recherche sur la présence. En outre, nous proposons d'étendre la recherche sur la présence au-delà du domaine de la réalité virtuelle et des moyens de communication et de l'étudier dans une perspective plus large que celle des sciences cognitives. Nous sommes convaincus que ce concept de Réalité Évoquée et le modèle proposé peuvent avoir des applications significatives dans l'étude de la présence et dans l'exploration des possibilités qui dépassent la réalité virtuelle. / In this research, we introduce the concept of "Evoked Reality" in an attempt to bring together various ideas on presence and reality onto a common platform. The concept we propose and illustrate is in fact an 'illusion of reality' (Evoked Realty) that simply evokes a 'sense of presence' (Evoked Presence) in our minds. We clearly define and differentiate between a Media-Evoked and a Self-Evoked Reality. That helped us introduce the Three Pole Reality Model that redefines the classical Two Pole Reality Model. We also present a graphical model called Reality-Presence Map, which would help us locate and analyse every possible cognitive experience relating to presence and reality. We also explore the qualia and subjectivity of our experiences of Evoked Reality. Two experiments were conducted, one in the area of Media-Evoked Reality and one in Self-Evoked Reality. The experiments in fact lead to fruitful conclusions regarding our hypotheses and help us understand what could be further empirically studied. Ultimately, we illustrate different implications and shed light on prospective applications and uses of our concept, especially in the area of research on presence. In addition, we strongly suggest that we must open up presence research beyond the domain of virtual reality and communication media, and examine it from a broader perspective of cognitive science. We strongly believe that this concept of Evoked Reality and the proposed model may have significant applications in the study of presence, and in exploring the possibilities beyond virtual reality.

A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall, the experience of choreographing has changed the way I see myself as a dancer and has instilled in me a new sense of respect for choreographers around the world.

The frontier has long been an important part of mythic American ideology as a space with untapped resources offering the potential for social mobility. This thesis looks at writing representing the three types of frontiers identified by Lucy Lockwood Hazard to demonstrate how this boundary between the “civilized” and “savage” actually reveals the instability and inaccessibility of the American Dream. Francis Parkman’s The Oregon Trail is one of the quintessential narratives about the geographical frontier; while deeply racist and sexist, it manifests doubts about the rhetoric of inhumanity attributed to indigenous populations. The industrial frontier’s creation of exploitative factory structures that were then translated into domestic spaces is illustrated by William Faulkner’s As I Lay Dying. The canonical novel speaks to the inability of the poor to achieve social mobility and the reemergence of social hubs as the space of opportunity. Finally, Jade Chang’s 2016 debut novel, The Wangs vs. the World, works to completely reframe the frontier genre by positing characters of color as protagonists, resisting their typical location on the “savage” side of the frontier binary. Chang uses the concept of the spiritual frontier to foreground the difficulties minorities face in order to be accepted into white society. The instabilities manifested by each of these frontiers ultimately point to the ways in which the American Dream has historically been an escapist impossibility and inflicted violence on women, lower classes, and people of color.

According to the American Cancer Society, it has been estimated that in 2019 alone, there will be approximately 53,000 new cases of oropharyngeal cancers. Oropharyngeal cancers are the largest subset of head and neck squamous cell carcinomas (HNSCCs), which are the sixth most common cancer across worldwide populations. They, along with other HNSCCs, fall under a category of cancers known as Human papillomavirus (HPV)-associated cancers, and it has been found that upwards of 70% of these cancers can be attributed to high-risk HPV infections. Specifically, the high-risk HPV gene, E7, plays a key role in relieving cell cycle repression by disrupting the DREAM complex via competitive binding with p130, driving the cell cycle and cell proliferation. In order to combat this interaction, a LIN52-S20C mutation was developed, in hopes of reducing E7 binding of p130 and stabilizing the DREAM complex. We utilized human cervical cell lines, immortalized keratinocytes, and mouse fibroblasts, all of which contained the HPV16 genome, as models to observe the effects of the LIN52-S20C mutation on HPV-mediated hijacking of the cell cycle. Not only were we able to replicate the increased proliferation and upregulated DREAM gene expression in infected cells, but we were also able to observe some reversal of these effects in many of our cell models through the expression of the LIN52-S20C variant. The findings of these studies have been promising and provide a basis for future works, and we hope that the effects of the LIN52-S20C mutation can be translated into studies in in vivo models.

Les narrations de jeunesse ont souvent pour thème le développement d’un jeune protagoniste ; elles racontent alors des expériences transformatrices qui constituent pour les petits héros autant de moments de passage, d’initiations. L’initiation jouait autrefois un rôle très important dans la vie humaine, marquant un passage d’âge socialement reconnu par la communauté toute entière. Toutefois, l’histoire de la société occidentale a vu progressivement disparaître ces moments de passage officiels, comme déjà en 1956 Mircea Eliade l’annonçait. Une fois l’initiation disparue, une compensation au niveau de la vie intérieure s’est rendue nécessaire, et le rêve apparaît un des lieux et des moments possibles pour cette compensation. Ainsi, à partir de Alice in Wonderland et The Wonderful Wizard of Oz, les fictions de jeunesse contemporaines ont souvent exploré le potentiel initiatique du rêve, qui fournit aux protagonistes une expérience liminaire marquant un avant et un après dans leurs vies. Dans nombreux romans, le protagoniste vit un rêve initiatique qui le conduit à travers un chemin de mort et de résurrection symboliques, et duquel il se réveille renouvelé. Cette thèse se propose donc de questionner le rêve en tant que seuil entre deux formes d’existence et catalyseur du passage d’âge dans les narrations de jeunesse européennes au XXIe siècle. / Youth fiction often focus on the development of a young hero. Such stories tell us about transformative experiences which work as initiations. Initiation was once a very important moment in human life, marking a passage which was recognized by the community as a whole. However, in the history of Western society official rites of passage has gradually disappeared, as already in 1956 Mircea Eliade announced it. Since then, a compensation for the inner life has become necessary, and the dream has become one of the possible places and times for this compensation. Thus, from Alice in Wonderland and The Wonderful Wizard of Oz, contemporary youth fiction has often explored the initiatory potential of dreams, which provides the protagonists with an introductory experience marking a turning point in their lives. In many novels, the protagonist lives an initiatory dream that leads him through a path of symbolic death and resurrection, from which he/she wakes up renewed. This thesis proposes to question the dream as a threshold between two forms of existence and a catalyst for initiation in contemporary European youth literature.

This dissertation follows a collection of agentive objects around and through the networks of humans and nonhumans in four disparate works of English literature: the Anglo-Saxon poem The Dream of the Rood, William Shakespeare's narrative poem The Rape of Lucrece, Thomas Hardy's novel The Woodlanders, and Philip Pullman's trilogy His Dark Materials. Applying the emergent discourses of object-oriented analyses, I posit the need for a critique that considers literary objects not as textual versions of real-world objects but as constructs of human imagination. What happens when we treat nonhuman or inanimate objects in literature as full characters in their own right? What work do nonhumans do to generate the story and the characters? How does our understanding of the human characters depend on the nonhuman ones? Most importantly, what motivates the agency of the fictive nonhuman? I argue that in this particular collection of texts, nonhuman agency stems from authorial nostalgia for the Garden of Eden: a time long past in which humans, nonhumans, and God existed in perfect harmony. Each text preserves this collective memory in a unique way, processing the myth as the author's cultural moment allows. The Dream of the Rood chapter uncovers the complex network of mirrors between the poet, the fictive Dreamer, the True Cross who speaks to the Dreamer, and the reader(s) of the poem. I use Jacques Lacan's stages of psychosexual development to trace the contours of this network, and I demonstrate how the poet's Edenic vision takes the form of an early medieval feast hall in heaven in which God presides over a banquet table like Hrothgar over Heorot. The Rape of Lucrece chapter posits that a series of domestic actors (weasels, wind, door locks) join with various "pricks" in the poem in an attempt to protect Lucrece from her rapist, Tarquin. Through these objects, I investigate the limits of women's speech and its efficacy before concluding with a consideration of the poem's Edenic vision, a Humanist paradise-on-earth, in the guise of the Roman Republic. The next chapter follows a shorn section of hair through The Woodlanders as it performs various functions and is assigned responsibility and power by several different human characters in the novel. The hair acts within a network of "man-traps" that illustrate the dangers of human artifice in an industrial era, and it reveals to readers Hardy's certainty that we will never reclaim Eden in our postlapsarian world. Finally, I navigate the fantastic worlds of His Dark Materials with the aid of three powerfully agentive objects: a golden compass, a subtle knife, and an amber spyglass. The first and second, I insist, resist not only their user's intentions but also their author's, because they are imbued with so much life and power that the narrative cannot contain them. The spyglass, by contrast, performs exactly as it was designed to do, and reveals the secret of the perfectly symbiotic world of the creatures called mulefa, who model for us a very contemporary new Eden that is populated by hybrids, sustained by materialism and sensuality, and presided over by earthly individuals rather than an omniscient Creator. Pullman's trilogy brings us back to the Garden but insists that our fallen state is our triumph rather than our tragedy.

In an interview conducted by Matthew C. Roudané, Arthur Miller elaborates on the extent the myth of the American Dream infuses our literature: “The American Dream is the largely unacknowledged screen in front of which all American writing plays itself out—the screen of the perfectibility of man. Whoever is writing in the United States is using the American Dream as an ironical pole of his story” (374). Suzan-Lori Parks is no exception to this rule. In her Pulitzer-Prize winning Topdog/Underdog, Parks reveals the illusory nature of the American Dream on a private, deeply personal level by focusing her drama on two brothers living in one under-furnished room in a rooming house. As the audience watches the main characters spiral into their tragic undoing, we are forced to question the validity of the American Dream and our free-enterprise system that supposedly enables that dream.