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A tese faz uma leitura da obra Mes mémoires de Alexandre Dumas a partir da visão de Georges Gusdorf sobre as escrituras do eu. A pesquisa parte da hipótese de que mesmo sendo uma obra memorialística mescla interesses e técnicas utilizadas por Dumas em outras obras. No início, as idéias de Philippe Lejeune e de Georges Gusdorf são apresentadas, e o conceito de memória esboçado. Devido à profunda ligação entre memória e História, analisou-se as mudanças ocorridas no início do século XIX na historiografia e literatura francesas, influenciadas por Walter Scott e como Dumas as assimilou em sua obra. Depois, procura discernir quais foram os recursos narrativos empregados para a construção da obra, os temas recorrentes e as técnicas vindas de outros gêneros praticados pelo autor. Discute a imagem que o autor deseja fixar para si e para a sua geração. No final, apresenta-se uma biografia de Victor Hugo que, como outras, foi inserida nessa obra multifacetada de Dumas. Conclui-se que em Mes mémoires Alexandre Dumas narra a sua trajetória harmonizando interesses e características já presentes em outras obras, movido pelo desejo de eternizar em suas memórias a memória da França de seu tempo. / The thesis revises the book Mes mémoires, written by Alexander Dumas, adopting Georges Gusdorf\'s vision of the writes of the self. The research assumes the initial premise that, even being a memory book, it brings together interests and techniques used by Dumas in other works. At the beginning, the ideas of Philippe Lejeune and Georges Gusdorf are presented and the concept of memory is explained. Because of the deep linking between memory and History, the changes occurred in French historiography and literature during the beginning of century XIX, influenced by Walter Scott and assimilated by Dumas, are studied. Further, it seeks to understand the narrative resources used to build the memories, the recurrent issues and the techniques that the author rescued from previous writes. It also analyses the image that Dumas desires to fix for himself and for his generation. Finally, the thesis presents a biography of Victor Hugo that, as others, was included in this multifaceted work of Dumas. The conclusion is that Mes mémoires of Alexander Dumas tells its trajectory putting together interests and characteristics already presents in his complete works, moved by the desire to eternize in his memories the Memories of France and of his time.

A study was performed to evaluate whether established methods of analysis of protein content in barley (Kjeldahl, Dumas, or NIT (short for Near Infrared Transmittance)) gives different results for wet and dried barley. This was carried out because there are concerns regarding the well-worn NIT prediction model giving different results for these conditions and that such an error causes significant price fluctuations on the market. By performing analyses of samples, both before and after drying, of the three different barley varieties Tipple, Prestige, and Quench, with all the techniques, data was obtained that could be analyzed statistically. The study showed that the NIT prediction model gives results for wet barley that is about 0.29 percentage points higher compared to dried barley. This difference was also statistically significant when a t-test was performed. The same difference was substantially smaller for Kjeldahl and Dumas and furthermore not statistically significant. When the difference between the different barley varieties is studied a deviation of 0.34 percentage points was obtained for Tipple, 0.18 percentage points for Prestige, and 0.30 percentage points for Quench. NIT, thereby, gave results with greatest deviation when wet Tipple was analyzed. When t-tests were performed for each barley variety, it was found that results for all varieties differ significantly between wet and dry barley. A study of the difference between the crude protein content determination by Kjeldahl and Dumas was also performed by calculating the mean differences between the various methods of determination. The average difference in crude protein determination was calculated to 0.07 percentage points.

Thèse (Ph. D.)--Université du Québec à Trois-Rivières, 2003. / Bibliogr.: f. 334-358.

A tese faz uma leitura da obra Mes mémoires de Alexandre Dumas a partir da visão de Georges Gusdorf sobre as escrituras do eu. A pesquisa parte da hipótese de que mesmo sendo uma obra memorialística mescla interesses e técnicas utilizadas por Dumas em outras obras. No início, as idéias de Philippe Lejeune e de Georges Gusdorf são apresentadas, e o conceito de memória esboçado. Devido à profunda ligação entre memória e História, analisou-se as mudanças ocorridas no início do século XIX na historiografia e literatura francesas, influenciadas por Walter Scott e como Dumas as assimilou em sua obra. Depois, procura discernir quais foram os recursos narrativos empregados para a construção da obra, os temas recorrentes e as técnicas vindas de outros gêneros praticados pelo autor. Discute a imagem que o autor deseja fixar para si e para a sua geração. No final, apresenta-se uma biografia de Victor Hugo que, como outras, foi inserida nessa obra multifacetada de Dumas. Conclui-se que em Mes mémoires Alexandre Dumas narra a sua trajetória harmonizando interesses e características já presentes em outras obras, movido pelo desejo de eternizar em suas memórias a memória da França de seu tempo. / The thesis revises the book Mes mémoires, written by Alexander Dumas, adopting Georges Gusdorf\'s vision of the writes of the self. The research assumes the initial premise that, even being a memory book, it brings together interests and techniques used by Dumas in other works. At the beginning, the ideas of Philippe Lejeune and Georges Gusdorf are presented and the concept of memory is explained. Because of the deep linking between memory and History, the changes occurred in French historiography and literature during the beginning of century XIX, influenced by Walter Scott and assimilated by Dumas, are studied. Further, it seeks to understand the narrative resources used to build the memories, the recurrent issues and the techniques that the author rescued from previous writes. It also analyses the image that Dumas desires to fix for himself and for his generation. Finally, the thesis presents a biography of Victor Hugo that, as others, was included in this multifaceted work of Dumas. The conclusion is that Mes mémoires of Alexander Dumas tells its trajectory putting together interests and characteristics already presents in his complete works, moved by the desire to eternize in his memories the Memories of France and of his time.

Les cycles romanesques sont ces œuvres formées par la réunion de plusieurs récits autonomes : sommes “à la Balzac”, suites, séries, trilogies, etc. Il s’agit d’un type spécifique de “transtextualité” (Genette), où s’exprime un désir ambigu de totalisation, qui affirme à la fois l’ouverture et la clôture du texte. Selon une démarche de poétique historique, nous analysons les formes de ces cycles, tout en les inscrivant dans l’histoire de long terme du genre romanesque. D’où un corpus large, s’étendant du XIXe siècle à nos jours : La Comédie humaine de Balzac, le Manuscrit trouvé à Saragosse de Potocki, les trilogies de Dumas, Les Rougon-Macquart, les Trois Villes et les Quatre Evangiles de Zola, le Cycle du Hussard de Giono, les cycles de science-fiction d’Asimov, et les romans « post-exotiques » de Volodine. L’examen des procédés de connexion entre les récits montre que le cycle n’est pas fondé sur la cohérence du monde qu’il représente, mais sur la cohésion des textes qu’il rassemble. Chaque cycle est une totalisation singulière de textes, traversée de tensions et de dysfonctionnements.Mais ces œuvres sont autant de réponses à une question qui subsiste pendant ces deux siècles : comment retrouver une totalité épique adéquate au monde moderne né de la Révolution ? Les cycles romanesques réactivent la « racine épique » du roman (Bakhtine). Cette visée épique, et ses transformations, sont un aspect de ce que serait une histoire de l’idée de totalité en littérature. / Novel cycles are the works formed by the reunion of several independent stories : balzacian cycles, sequels, series, trilogies, etc. In this specific type of “transtextuality” (Genette), an ambiguous desire for totalization appears, tending simultaneously towards the openness and the closure of the text. A historical poetics approach allows to analyze the cycle’s forms by connecting them to the long-term history of the novel as a genre. Hence the wide corpus studied, spanning from 19th century to our days : Balzac’s Comédie humaine, Potocki’s Manuscrit trouvé à Saragosse, several trilogies by Dumas, Zola’s Les Rougon-Macquart, Trois Villes and Quatre Evangiles, Giono’s Cycle du Hussard, Asimov’s science-fiction cycles,and Volodine’s « post-exotic » novels. A study of the connecting devices that tie novels together shows that the cycle does not rely on the consistency of the world that it represents, but on the cohesion of the texts it is made of. Each cycle is a unique totalization of texts, where tensions and dysfunctions abound.Still, in the long-term history of the novel, these works can be seen as many different answers to the same question : how is it possible to bring back an epic totality that would fit the modern world, born from the French Revolution ? Novel cycles reactivate the “epic root” of the novel (Bakhtin). This epic root, and its transformations, are a part of a more general history of the idea of totality in literature.

Le mot prince au XIXème siècle correspond à un titre, une fonction, un état ou une façon de vivre. Alexandre Dumas, comme bien d’autres auteurs avant lui, va construire ses œuvres (La trilogie des Trois Mousquetaires, La Reine Margot, Le Comte de Monte-Cristo) autour de cette thématique. Mais son prince aura quelques originalités. La première partie de ce travail de recherches présente ce prince par nature, son aspect physique, sa grande voix de commandeur, et son regard pénétrant. Le prince a un physique impressionnant. Soit il est très beau, soit très fort, soit il a beaucoup de charme, soit il a cette aura qui fait de lui un homme exceptionnel, soit il a et il est cela à la fois. Son caractère est celui d’un grand homme : force morale et/ou spirituelle, volonté et audace, travailleur, rusé et stratège, mémoire et connaissance, réserve et mystère, dissimulation, fierté et hauteur, perspicacité ou clairvoyance, bonté, renaissance et métamorphose, baraka. La deuxième partie définit le gouvernement du prince, c’est-à-dire son pouvoir, le pouvoir de la princesse, et les rapports entre prince et princesse. La troisième partie définit le prince-héros. Il s’agit de préciser l’état du prince de Dumas dans l’histoire et l’Histoire, de signaler son besoin de l’Autre, de définir clairement le contexte littéraire : romantisme, réalisme, baroque et classicisme, et de dire précisément quel est l’apport personnel de Dumas dans la définition du prince et quels sont les éléments qui se retrouvent chez son prince. C’est un prince qui aura vécu dans les temps baroque, classique et romantique, qui aura toutes ces caractéristiques et qui ressemblera aussi au créateur du mythe de d’Artagnan. La figure du prince de Dumas, c’est celle du héros princier, c’est celle de celui qui fait l’Histoire, c’est celle de celui qui a l’essence divine ; c’est celle du Christ. / The word prince on the XIXth century means rank, a fonction, a state or a way of life. Alexandre Dumas, like many other writers before him, will build his novels (Les Trois Mousquetaires, Vingt ans après, Le Vicomte de Bragelonne, La Reine Margot, Le Comte de Monte-Cristo) around this subject. But his prince will have some specificities. The first part of this work of research presents this prince by nature, his look, his big voice, commander voice, and his deep stare. Prince has an amazing body. Either he is handsome, or very strong, or charming, or he’s got this aura which makes him exceptional, or he is all that. His nature is the nature of a bigman : moral strength and/or spiritual, will and daring, worker, crafty aud strategist, memory and knowledge, reservation and mystery, concealment, pride and haughtiness, shrewdness or clearsightedness, kindness, rebirth and metamorphosis, baraka. The second part defines prince’s gouverment, that means his power, princess power, and prince and princess relationships. The third part definies the prince-hero. We specify the state of Dumas’ prince in the history and the History, we signal his need of the Other, we define clearly the literary context : romanticism, realism, baroque, classicism, and we say precisely what is personnal Dumas contibution on prince definition and what elements be found again in his prince. This prince has lived during baroque, classic and romantic times. This prince will have all these characteristics and will look like d’Artagnan myth creator. Dumas’ prince figure is the one of prince-hero, the one of the man who makes History, the one of the man who has divin essence, the one of the Christ.

No description available.

The purpose of this paper is to investigate the Kjeldahl method of nitrogen determination.

Thesis (Ph. D.)--University of Hong Kong, 2006. / Also available online.