Depuis sa naissance, la littérature africaine s’est penchée sur les maux qui minent son continent. La situation politique instable de nombreux pays africains, le mode gestion, et le quotidien du peuple suffisent aux écrivains pour peindre des tableaux obscurs de leurs pays respectifs. C’est dans cette optique qu’Emmanuel Dongala en tant qu’écrivain de l’ « urgence » s’empresse d’écrire dès qu’il constate une anomalie autour de lui. Son écriture tournée vers la dénonciation ne manque pas d’aborder des problématiques qui sont toujours d’actualité. D’où l’intitulé de notre thèse, « La généricité du discours rebelle dans la littérature africaine. À partir de l’œuvre d’Emmanuel Dongala ». L’objet de ce travail est de montrer que l’écriture de notre auteur respecte une certaine logique. Ecrivain engagé, le discours rebelle chez Emmanuel Dongala est toujours d’actualité que ce soit dans le théâtre, le roman ou la nouvelle. De même, les thématiques qu’il aborde, le type de personnage qu’il met en scène, leurs discours, participent non seulement à mettre en évidence les maux et les dérivent de ces gouvernements au pouvoir mais, ils nous permettent de mieux comprendre sa posture. Enfin, l‘étude de son style d’écriture nous permettra de voir comment il se démarque de ses confrères écrivains africains afin de capter l’attention de son destinataire. / Since its birth, African literature has looked at the evils that undermine its continent. The unstable political situation of many African countries, the management mode, and the daily life of the people are enough for writers to paint obscure pictures of their respective countries. It is in this perspective that Emmanuel Dongala as a writer of "urgency" is quick to write as soon as he finds an anomaly around him. His writing turned to the denunciation does not fail to address issues that are still relevant. Hence the title of our thesis, "The Genericity of Rebellious Discourse in African Literature. From the work of Emmanuel Dongala ". The purpose of this work is to show that the writing of our author respects a certain logic. A committed writer, Emmanuel Dongala's rebellious discourse is still relevant whether in the theater, the novel or the short story. Similarly, the themes he addresses, the type of character he puts on the scene, their speeches, not only help to highlight the evils and derives of these governments in power but, they allow us to better understand its posture. Finally, the study of his writing style will allow us to see how he stands out from his fellow African writers in order to capture the attention of his recipient.

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Generic use of articles in French This Diploma thesis deals with the generic use of articles in the French language. It is divided into the theoretical and the experimental part. After the broader introduction into the issue of determinants, the most important part of the work treats genericity expressed in French by the definite article in singular and plural as well as by the indefinite article in singular. Firstly, the existing research on the subject of generic articles is studied, including the presentation of various approaches and principal theories, then is formulated proper syntactic and semantic interpretation of genericity which is finally verified in the experimental part of the thesis based on the analysis of model sentences. Keywords determinant, article, genericity, reference, nominal syntagm

Notre travail se focalise sur deux phénomènes observés dans le cadre de l'apprentissage de l'anglais langue seconde (L2) chez des adultes francophones: d'une part, l'usage non conventionnel de verbes, et d'autre part, l'importance du taux de production des verbes génériques (vs spécifiques). Notre population est constituée d'un groupe d'étudiants universitaires francophones en situation d'apprentissage de l'anglais de niveau B1 (population cible), ainsi que d'un groupe de locuteurs d'anglais L1 (population de référence), placés en situation de dénomination orale de 42 vidéos d'actions de type cut et break. Nos résultats montrent des différences significatives entre la manière dont les deux groupes catégorisent ces types d'actions, avec un taux plus élevé de descriptions non conventionnelles et de verbes génériques chez les locuteurs de l’anglais L2. A l'appui de ces résultats, nous soulignons l'importance de l'usage des verbes non conventionnels et génériques, qui constitue des stratégies de communication permettant aux apprenants L2 de pallier leurs lacunes lexicales. / Our work focuses on two phenomena that appear in the language of English L2 learners: the use of unconventional verbs, and the production of generic, high-frequency verbs (rather than specific verbs). Our study involves a group of Francophone university students learning English as a second language, with a B1 level (experimental group), as well as a group of native English speakers (control group), both placed in a naming task using 42 videos that show cut- and break-type actions. Results show significant differences in the way that the two groups categorize these types of actions, with a higher frequency of unconventional and generic verbs used by the L2 learners. Based on these results, we highlight the importance of the use of these types of verbs as a communication strategy, allowing L2 learners to compensate for gaps in their lexicon.

This dissertation examines genericity from a textual perspective. The material consists of popular science texts about species of animals. The investigation concerns both the distribution of different forms of generic noun phrases and the boundary between generic and non-generic noun phrases. The analytical tools are taken from Accessibility Theory and Blending Theory. Two separate studies have been undertaken. The results of the first study indicate that generic reference on the whole follows the same principles of accessibility as non-generic reference, although there are some differences that can be attributed to the distinction between generic and non-generic reference. Some results suggest that our mental representations of generic referents are generally less accessible than those of non-generic referents. Factors other than accessibility influencing the choice of generic noun phrases are also identified. While genericity is generally treated as an all-or-nothing phenomenon, an important experience of this first study concerns the difficulties facing anyone who tries to distinguish between generic and non-generic noun phrases in authentic texts. These difficulties are the centre of attention in the second study, which shows that genericity is an extremely context-dependent phenomenon. The sentence context may clearly indicate a particular, non-generic reference, while the wider context of the text reveals that the noun phrase in question is in fact generic. Not infrequently, chains of reference involve a great deal of shifting and slithering between a generic and a non-generic meaning, although the references are seemingly coreferential. It is sometimes difficult to decide on the real referents intended. At times there are also clear cases where the noun phrase must be analysed as referring to both generic and non-generic entities at the same time. This implies that it is unlikely that we actually decide for every reference if it is generic or non-generic.

Les bergères de l'Apocalypse est le récit de la protagoniste Ariane qui projette de réécrire, en marge du discours officiel, les événements qui ont conduit à la création d'une société gynocentrique. À la diversité des préoccupations qui alimentent cette vision utopiste de la société répond une indétermination générique qui rend le récit difficile à classer. Mettant en scène une société idéale qui n'en est pas une (puisque les femmes, après l'extermination des hommes, ont reproduit certaines structures de pouvoir patriarcales), l’ouvrage ne peut pas être identifié uniquement comme un roman de science-fiction puisqu'il emprunte à la fois à l'essai, à l’utopie féministe et au récit apocalyptique. Cette hybridation apparaît comme l’un des traits de cet ouvrage éclaté qui multiplie les techniques narratives et les récits dans un cadre où l’intertextualité joue un rôle important. L'hypothèse que je propose pour expliquer une telle variation générique est que le roman représente ici une forme modulable qui marie à la complexité des propositions apportées au discours féministe ambiant. Grâce au mélange des genres et des discours, l'auteure, à travers Ariane, parvient à dialoguer avec une panoplie d'intertextes dont le contrepoint original et touffu ne peut que déconcerter la lectrice. Afin d'analyser le roman, j'observerai comment l’oeuvre exploite les potentiels de généricité dans la forme, les techniques narratives, leur liens avec les motifs écoféministes, ainsi que le mode d'inscription des différents discours. / Les Bergères de l'apocalypse is the story of the protagonist Ariane who plans to rewrite, in the sidelines of the official discourse, the events that led to the creation of a gynocentric society. In the variety of concerns that fuel this utopian vision of society meets a generic indeterminacy that makes it difficult to classify. Featuring an ideal society which turns out no to be one (as women after the extermination of men have reproduced some structures of patriarchal power), the book can't be identified solely as a science fiction novel since it borrows both the essay, the feminist utopia and the apocalyptic narrative. This hybridization appears as one of the features of this book that multiplies the narrative techniques and narratives in a setting where intertextuality plays an important role. The hypothesis that I propose to explain such generic explosion is that the novel represents a shape conforming to the complexity of the proposals made to the feminist discourse of the seventies. With the mix of genres and discourses, the author, through Ariane, manages to communicate with a variety variety of intertexts whose original and dense counterpoint could only confuse the reader. To analyze the novel, I will observe how the book exploits the potential of generic in his form, narrative techniques, their links with ecofeminists motifs, as well as the inscription of different discourses.

Arnaldo Antunes, atuante no cenário musical nacional, devotou-se também à produção no campo literário. Sua obra apresenta traços em estilo neoconcreto centrados em experimentações da materialidade visual e sonora da palavra e alia-se ao estilo neobarroco dos excessos de adornos e repetições sonoras e semânticas com efeito de opacidade de sentidos. Um outro aspecto relevante é o diálogo com o estilo neobarroco artístico de certas obras resultante do processo de convergência entre literatura e artes visuais e plásticas. Este trabalho tem como objetivo central analisar as criações expressivas de palavras - neologismos - e as metáforas em obras que apresentam os estilos neobarroco e neoconcreto, verificando como o artista faz escolhas lexicais para manifestar toda a sua criatividade. Estudamos processos de formação tais como a derivação, composição e o cruzamento lexical e a analisamos a criatividade metafórica resultante das combinações de unidades lexicais realizadas de forma expressiva. Os sentidos foram mapeados segundo transformações no campo semântico, observando-se a quebra da isotopia ou da coesão, das metáforas e das mesclagens conceituais. A recolha dos neologismos foi realizada de forma manual, passando pelo critério de exclusão segundo a consulta no Dicionário Houaiss e Villar (2009), ao passo que a seleção das metáforas se pautou na novidade expressiva. O estudo foi organizado segundo os critérios de aspectos de gêneros observados: a primeira dedicada ao estudo das metáforas e mesclagens conceituais em obras que apresentaram o efeito de genericidade de versos livres recolhidas nas obras Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si; a segunda, dedicada às criações lexicais formais e metáforas das obras em gêneros intermidiáticos nas exposições Luzescrita e Palavra em movimento; e a terceira, centrada nas criações lexicais e metáforas em gêneros intermidiáticos impressos nos livros Palavra desordem, As Coisas e Et Eu Tu, resultantes da convergência entre mídias cartazes e poesia, poesia e ilustrações e poesia e fotografia. / Arnaldo Antunes, an active artist in the national music scenery, devoted himself to the production on the literary field. His oeuvre presents traces of neoconcrete style centered in the experimentations on visual and audible materiality of the word, allied with the literary neobarroquism of the excess and repetitions of sounds and meanings with the effect of opacity of meaning. Another relevant aspect is the dialogue with the artistic neobarroque style, in certain works resulted from the process of convergence between literature and visual arts. This research has as main objective to analyse the expressive creation of words or neologism and the metaphors in works that presented the neobarroque and neoconcrete styles verifying how the artist makes lexical choices to express his own creativeness. We studied the processes of word formations as derivation, composition and blends and analyzed the metaphoric creativity result from the combination of lexical units made in an expressive way. The meanings were mapped according to the transformations on the semantic field, observing the break of isotopia and cohesions, the conceptual metaphors, and conceptual blends. The neologisms were collected manually, through the criteria of exclusion based on the dictionary Houaiss and Villar (2009), whereas the selection of metaphors was based on the expressive novelty. This study was organized in chapters following the criteria of the genre aspects observed: the first one specifically devoted to the study of the conceptual metaphors and blends found in works that presented the effect of genericity of new free verse collected from his works Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si, ; the second one dedicated to the formal lexical creations and metaphors in the intermedial genres in the expositions Luzescrita and Palavra em movimento; and the final one directed to the lexical creations and metaphors in printed intermedial genre, in the books Palavra desordem, As Coisas and Et Eu Tu resulting respectively from the converging media, banners and poetry, poetry and images, and poetry and photograph.

In this thesis, we investigate a special class of multi-agent systems, which we call reciprocal multi-agent (RMA) systems. The evolution of agents in a RMA system is governed by interactions between pairs of agents. Each interaction is reciprocal, and the magnitude of attraction/repulsion depends only on distances between agents. We investigate the class of RMA systems from four perspectives, these are two basic properties of the dynamical system, one formula for computing the Morse indices/co-indices of critical formations, and one formation control model as a variation of the class of RMA systems. An important aspect about RMA systems is that there is an equivariant potential function associated with each RMA system so that the equations of motion of agents are actually a gradient flow. The two basic properties about this class of gradient systems we will investigate are about the convergence of the gradient flow, and about the question whether the associated potential function is generically an equivariant Morse function. We develop systematic approaches for studying these two problems, and establish important results. A RMA system often has multiple critical formations and in general, these are hard to locate. So in this thesis, we consider a special class of RMA systems whereby there is a geometric characterization for each critical formation. A formula associated with the characterization is developed for computing the Morse index/co-index of each critical formation. This formula has a potential impact on the design and control of RMA systems. In this thesis, we also consider a formation control model whereby the control of formation is achieved by varying interactions between selected pairs of agents. This model can be interpreted in different ways in terms of patterns of information flow, and we establish results about the controllability of this control system for both centralized and decentralized problems. / Engineering and Applied Sciences

L'analyse multifractale est l'étude des propriétés locales des ensembles de mesures ou de fonctions. Son importance est apparue dans le cadre de la turbulence pleinement développée. Dans ce cadre, l'expérimentateur n'a pas accès à la vitesse en tout point d'un fluide mais il peut mesurer sa valeur en un point en fonction du temps. On ne mesure donc pas directement la fonction vitesse du fluide, mais sa trace. Cette thèse sera essentiellement consacrée à l'étude du comportement local de traces de fonctions d'espaces de Besov : nous déterminerons la dimension de Hausdorff des ensembles de points ayant un exposant de Hölder donné (spectre multifractal). Afin de caractériser facilement l'exposant de Hölder et l'appartenance à un espace de Besov, on utilisera la décomposition de fonctions sur les bases d'ondelettes.Nous n'obtiendrons pas la valeur du spectre de la trace de toute fonction d'un espace de Besov mais sa valeur pour un ensemble générique de fonctions. On fera alors appel à deux notions de généricité différentes : la prévalence et la généricité au sens de Baire. Ces notions ne coïncident pas toujours, mais, ici on obtiendra les mêmes résultats. Dans la dernière partie, afin de déterminer la forme que peut prend un spectre multifractal, on construira une fonction qui est son propre spectre / Multifractal analysis consists in the study of local properties of set of measures or functions. Its importance appeared in the frame of fully developed turbulence. In this area, physicists do not know the velocity of a fluid at all points but they can measure its value in one point in function of time. Hence, they do not measure the velocity function of the fluid but its trace.This thesis will be mainly dedicated to the study of local behavior of traces of Besov functions: we will determine the Hausdorff dimension of sets of points with a given Hölder exponent (the so-called multifractal spectrum). In order to easily characterize Hölder exponent and Besov spaces, we will use wavelet decomposition. We will not get the value of the multifractal spectrum of the trace of all functions of a Besov space, but its value for a generic set of functions. Then, we will use two notions of genericity : prevalence and Baire's genericity. Even if generic and prevalent properties can be different, here they will be the same.In the last part, in order to establish what a multifractal spectrum shape can be, we will construct a function which is its own spectrum

La hiérarchie des genres a longtemps été présentée par les historiens de l’art comme le symbole d’une « doctrine officielle » qui aurait dominé de manière univoque l’Académie Royale de Peinture et de Sculpture. Faute d’avoir fait l’objet d’un travail de définition articulé à l’étude d’archives telles que les statuts, les Procès-verbaux et les comptes rendus des conférences, elle a fini par devenir un lieu commun, si bien que la complexité de ses termes s’est parfois trouvé réduite à l’énoncé de la préface aux Conférences rédigée par Félibien. Elle est ainsi devenue le symbole d’un conflit théorique entre les détracteurs d’une Académie supposée étouffer la créativité des artistes et les tenants d’une réhabilitation face aux exagérations de l’historiographie traditionnelle. La perspective de cette recherche s’inscrit dans les interstices de ces approches différentes : interroger le sens et la fonction institutionnels de la hiérarchie des genres, ainsi que les résistances internes à ce dispositif, permet en effet d’appréhender l’Académie comme le lieu d’une conflictualité née du rapport qu’y entretiennent les notions d’art et de pouvoirs. J’étudie précisément l’incorporation de cette règle dans un programme (au sens où l’entend Foucault) – lequel s’est matérialisé dans la rédaction des statuts de décembre 1663 qui instituent une supériorité de la peinture d’histoire sur les autres genres, ainsi que dans la production d’un discours officiel. Les œuvres picturales de Desportes, Santerre, Chardin viennent par exemple déstabiliser les identités génériques solidifiées dans un règlement et ouvrent une piste de réflexion féconde quant à l’usage de la notion dynamique de généricité. / The hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres.