En dépit de certaines idées reçues qui ont poussé longtemps la critique à étiqueter les Goncourt non seulement comme des représentants mineurs du réalisme et du naturalisme, mais aussi comme des écrivains renfermés trop dans leurs tics, ce travail propose de considérer à nouveaux frais l’œuvre des deux frères, à partir d’une interaction narrateur-lecteur et en se concentrant surtout sur ces deux figures de la communication littéraire. Tout au long de cette étude on va montrer que le lecteur est plongé d’emblée au cœur d’une dimension dialogique réelle, soit dans les œuvres romanesques, soit dans les récits intimes, soit dans les premières études historiques d’Edmond et Jules de Goncourt. Les dialogues et les conversations se succèdent dans la narration goncourtienne et le lecteur perçoit une polyphonie, un plurilinguisme de voix, qui lui permettront de participer à l’acte de l’écriture, à l’impliquer dans le texte dès son début. À travers diverses analyses des sténographies de dialogues et de conversations on va supposer qu’un véritable principe de «démocratisation littéraire » se fonde et trouve sa liberté dans l’émancipation du patronage narratif. / Although some ideas prompted for a long time critics to label Goncourt brothers not only as minor representatives of realism and naturalism, but also as writers retired in their hobbyhorses, this work proposes to consider Goncourt’s work beginning from the interaction narrator – reader focusing mainly on this two figures of literary communication. In this study it is possible to notice that the reader is suddenly plunged in a real dialogic dimension, in fiction works, in intimist stories and in Edmond and Jules Goncourt’s first historical studies too. Dialogues and conversations follow one another in the Goncourt’s narration and the reader perceives a polyphony, a multilingualism of voices, that permit him to take part in the act of writing and to involve in the text since the beginning. Through different analysis of the shortland of dialogues and conversations we suppose that a principle of « literary democratization » is based on and find its freedom in the emancipation of the narrative patronage.

Délaissée par les théoriciens pour la notion plus large d'incipit, il semble pourtant acquis que la première phrase d'un roman est spécifique. À l'aide des outils de la linguistique et dans une approche centrée sur le lecteur, on a voulu caractériser cette spécificité ressentie, identifier ses causes et ses effets. Le matériel est un corpus de 402 premières phrases tirées de romans publiés de 1980 à 2011, rédigés en langue anglaise. Penser le commencement est un défi pour la cognition. Le début de roman rejoue ses problématiques et met face à l'arbitraire indépassable de toute création. Le passage du discours ordinaire au discours fictionnel pose la question du statut logique de la fiction et fait apparaître la première phrase comme le seuil critique où s'articule un dialogue entre réalité et fiction. La théorie littéraire et le structuralisme attribuent des fonctions (programmation, codification) au commencement. La première phrase inaugure un espace énonciatif ludique et est le lieu d'un transfert d'autorité énonciative de l'auteur au narrateur. Elle construit le cadre énonciatif et narratif du récit, mais aussi ses premiers contenus, dont le lecteur élabore des représentations mentales. L'étude de l'anatomie du corpus révèle un manque de spécificité grammaticale, le jeu consistant à faire comme si la phrase n'était pas la première. En résulte une énigme, dont la résolution détourne à des fins ludiques les fonctions cognitives habituellement dévolues aux problèmes sérieux. Ce piège séductif explique le phénomène d'immersion fictionnelle, dont on explore également le versant esthétique. La spécificité de la première phrase de roman est avant tout cognitive et affective. / Despite being neglected by theorists for the larger notion of incipit, it is generally accepted that the first sentence of a novel is special. Taking the point of view of the reader, this dissertation aims at characterizing this specificity and identifying its causes and effects, using the tools and concepts of linguistics. 402 first sentences were studied, taken from novels published from 1980 to 2011 and written in English. Beginnings are cognitive non-sense. The opening sentence inherits this specificity and places the reader in front of the arbitrariness inherent to creation. The emerging fictional discourse also raises the question of its logical status and makes the opening sentence appear as a hinge between reality and fiction. For literature theorists and structuralists, beginnings have functions (programmatic, codifying). Also, the first sentence is often seen as a crucial brick in the fictional apparatus. It is the opening fringe of a new speech territory, ie a game one, and the edge where enunciative authority is being transferred from the author onto the narrator. It sets the enunciative and narrative frame-work of the story, as well as its first contents, of which readers elaborate mental representations. A study of the anatomy of the corpus reveals its lack of grammatical specificity, part of the game being for the opening sentence not to appear as such. The result is an enigmatic sentence which, for the purpose of the game, hijacks cognitive functions meant for serious matters. This cognitive hijacking is a seduction, it facilitates fictional immersion, which also is an aesthetic experience. The specificity of the first sentence is cognitive and affective.

Propõe-se a análise representativa da informação musical em ambientes digitais direcionados à música, tendo como base o relacionamento entre Ciência da Informação e Música. A pesquisa justifica-se pela intensidade das manifestações musicais, ou seja, o número significativo de produção e acesso à musica no cenário contemporâneo, fato que justifica a necessidade do tratamento adequado dos diferentes tipos documentais produzidos. Este estudo tem por objetivo identificar as especificidades de informação musical e de sua organização e recuperação, bem como analisar a representação do elemento incipit musical aplicado ao MARC21. Especificamente identificar a tipologia de documentos musicais, analisar os princípios usados para organização da informação musical em repertórios da área, identificar recursos informacionais direcionados à área em questão e analisar a aplicação do elemento incipit ao MARC como recurso de recuperação em ambientes digitais e Sistemas. A pesquisa está pautada no estudo exploratório dos recursos informacionais da música, no repertorio e tipos documentais de representação da música, considerando o tratamento temático contextual e descritivo da informação. Consiste no estudo exploratório documental utilizando o método qualitativo, que configurar-se á como estrutura para analisar os recursos informacionais aplicados à música como elementos de representação e recuperação da informação musical e sua aplicação. Realizou-se um levantamento de fontes musicais que utilizam o incipit como recurso informacional e a possível sinergia ao Répertoire International des Sources Musicales (RISM), seguido da aplicação e análise de elemento de representação musical aplicado ao formato biblioteconômico automatizado. Os resultados demonstram a pesquisa como satisfatória, pois em resposta aos objetivos mostrou-se evidente a possibilidade de o incipit constitutivo da música ser representado e recuperado em repositórios digitais e sistemas automatizados para organização de recuperação da informação. Diante da amplitude do assunto pesquisado considera-se que a área musical consiste em um vasto campo a ser explorado, e necessita de atenção especial do profissional da informação quanto à especificidade da área, apoiado por especialista da área musical, fato justificado pelas necessidades técnicas e especificas apontadas neste estudo. / It proposes the representative analysis of musical information in digital environments directed to music, based on the relationship of Information Science and Music. The research is justified by the intensity of the musical manifestations, that is, the significant number of production and access to music in the contemporary scenario, a fact that justifies the need for appropriate treatment of the different documentary types produced. This study aims to identify the specificities of musical information and its organization and retrieval, as well as to analyze the representation of the musical incipit element applied to MARC21. Specifically identify the typology of musical documents, analyze the principles used to organize the musical information in repertoires of the area, identify information resources directed to the area in question and analyze the application of the element incipit to the MARC as a resource of retrieval in digital environments and Systems. The research was based in the exploratory study of the informational resources of music, in the repertory and documentary types of music representation, considering the thematic and contextual and descriptive treatment of the information. It consists of an exploratory documentary study using the qualitative method, which will be configured as a structure to analyze the informational resources applied to music as elements of representation and retrieval of musical information and its application. A study was carried out on musical instruments using incipit as an informational resource and the possible synergy to Répertoire International des Sources Musicales (RISM), followed by the application and analysis of musical representation element applied to the automatized automated bibliographic format. The results demonstrate the research as satisfactory, because in response to the objectives it was evident the possibility of the constitutive incipit of music be represented and retrieved in digital repositories and automated systems for organization of information retrieval. Considering the breadth of the studied subject, it is considered that the musical area consists of a vast field to be explored, and requires special attention from the information professional regarding the specificity of the area, supported by a specialist in the musical area, fact that is justified by the technical and specific needs pointed out in this study.

Propõe-se a análise representativa da informação musical em ambientes digitais direcionados à música, tendo como base o relacionamento entre Ciência da Informação e Música. A pesquisa justifica-se pela intensidade das manifestações musicais, ou seja, o número significativo de produção e acesso à musica no cenário contemporâneo, fato que justifica a necessidade do tratamento adequado dos diferentes tipos documentais produzidos. Este estudo tem por objetivo identificar as especificidades de informação musical e de sua organização e recuperação, bem como analisar a representação do elemento incipit musical aplicado ao MARC21. Especificamente identificar a tipologia de documentos musicais, analisar os princípios usados para organização da informação musical em repertórios da área, identificar recursos informacionais direcionados à área em questão e analisar a aplicação do elemento incipit ao MARC como recurso de recuperação em ambientes digitais e Sistemas. A pesquisa está pautada no estudo exploratório dos recursos informacionais da música, no repertorio e tipos documentais de representação da música, considerando o tratamento temático contextual e descritivo da informação. Consiste no estudo exploratório documental utilizando o método qualitativo, que configurar-se á como estrutura para analisar os recursos informacionais aplicados à música como elementos de representação e recuperação da informação musical e sua aplicação. Realizou-se um levantamento de fontes musicais que utilizam o incipit como recurso informacional e a possível sinergia ao Répertoire International des Sources Musicales (RISM), seguido da aplicação e análise de elemento de representação musical aplicado ao formato biblioteconômico automatizado. Os resultados demonstram a pesquisa como satisfatória, pois em resposta aos objetivos mostrou-se evidente a possibilidade de o incipit constitutivo da música ser representado e recuperado em repositórios digitais e sistemas automatizados para organização de recuperação da informação. Diante da amplitude do assunto pesquisado considera-se que a área musical consiste em um vasto campo a ser explorado, e necessita de atenção especial do profissional da informação quanto à especificidade da área, apoiado por especialista da área musical, fato justificado pelas necessidades técnicas e especificas apontadas neste estudo. / It proposes the representative analysis of musical information in digital environments directed to music, based on the relationship of Information Science and Music. The research is justified by the intensity of the musical manifestations, that is, the significant number of production and access to music in the contemporary scenario, a fact that justifies the need for appropriate treatment of the different documentary types produced. This study aims to identify the specificities of musical information and its organization and retrieval, as well as to analyze the representation of the musical incipit element applied to MARC21. Specifically identify the typology of musical documents, analyze the principles used to organize the musical information in repertoires of the area, identify information resources directed to the area in question and analyze the application of the element incipit to the MARC as a resource of retrieval in digital environments and Systems. The research was based in the exploratory study of the informational resources of music, in the repertory and documentary types of music representation, considering the thematic and contextual and descriptive treatment of the information. It consists of an exploratory documentary study using the qualitative method, which will be configured as a structure to analyze the informational resources applied to music as elements of representation and retrieval of musical information and its application. A study was carried out on musical instruments using incipit as an informational resource and the possible synergy to Répertoire International des Sources Musicales (RISM), followed by the application and analysis of musical representation element applied to the automatized automated bibliographic format. The results demonstrate the research as satisfactory, because in response to the objectives it was evident the possibility of the constitutive incipit of music be represented and retrieved in digital repositories and automated systems for organization of information retrieval. Considering the breadth of the studied subject, it is considered that the musical area consists of a vast field to be explored, and requires special attention from the information professional regarding the specificity of the area, supported by a specialist in the musical area, fact that is justified by the technical and specific needs pointed out in this study.

La présente recherche se propose, en dépassant la vieille querelle des tenants de la théorie « classique » des actes de langage (J. R. Searle et D. Vanderveken) et des analystes des interactions (« École de Genève » principalement), à la fois d’étudier le fonctionnement des actes de langage en interaction et de montrer qu’il est possible d’articuler ces deux positions en apparence divergentes. En fait, nous proposons un concept d’acte de langage qui reste dans l’esprit de la théorie searlienne, mais en ajoutant une perspective contextualiste (selon le modèle proposé par A. Trognon et Ch. Brassac) susceptible de rendre compte du fonctionnement de l’acte dans la dynamique discursive. Le but principal de cette démarche est ainsi d’apporter des données nouvelles à la description de ces unités. Un second but s’ajoute au premier : traiter ces unités dans une dimension comparative entre deux langues – le français et le roumain –, telles qu’elles sont utilisées par des locuteurs natifs. Le corpus est constitué d’interactions de classe enregistrées dans les deux systèmes d’enseignement mentionnés, et ensuite transcrites. L’analyse du fonctionnement et des réalisateurs des actes de langage dans un genre d’interaction verbale, permet de soutenir la nécessité d’une analyse contextualisée des actes de langage et, en outre, d’identifier des types d’actes de langage, des réalisations linguistiques de ces actes, des schémas interactionnels spécifiques d’un genre particulier de discours. La récurrence de ces types d’actes, réalisations préférentielles, schémas interactionnels, explique également la ritualisation de certaines séquences de l’activité didactique et, en particulier, de la séquence d’ouverture - l’incipit, sur lequel se focalise l’analyse dans cette thèse. Par ailleurs, l’approche contrastive met en évidence des différences quantitatives ainsi que des réalisations préférentielles manifestant des différences institutionnelles, attitudinales, idéologiques. / The main aim of the present research is, surpassing the old quarrel between the supporters of the classical theory of speech acts (J. R. Searle and D. Vanderveken) and those of the analysts of interaction/discourse (mainly « The Geneva School»)), both to study the functioning of speech acts in interaction and to show that these two, apparently divergent positions, may function together. Actually, we propose a concept of speech act in the line of Searle’s theory, adding, however, a contextualist perspective (according to the model proposed by A. Trognon and Ch. Brassac), which is likely to account for the functioning of the act in the discursive dynamics. The main aim of this endeavour is to provide new data for the description of these units. The second aim of this thesis is to treat these units comparatively, in two languages –French and Romanian-, such as they are used by native speakers. The corpus consists of class interactions, which were recorded in the two above-mentioned education systems and then, transcribed. The analysis of the functioning and of the patterns of realisation of speech acts in a specific type of verbal interaction has the advantage of supporting the necessity of a contextualized analysis of speech acts and, on the other hand, to identify types of speech acts, linguistic realisations of these acts, interactional schemas, which are specific to a particular discourse genre. The recurrence of these types of acts, of their preferential realizations and of the interactional schemas also explains the ritualization of several sequences of the didactic activity and, particularly, of the opening sequence- the incipit, which is the focus of the analysis of this thesis. Also, the contrastive approach emphasizes quantitative differences, as well as preferential realisations which indicate institutional, attitudinal and ideological differences.

Cette thèse se propose d'offrir un commentaire linguistique, philologique, rhétorique des vers 49-396 [ = 1-348 Petsch.] du livre V, qui est le livre de la bataille d’Antonia Castra, et une analyse de l'œuvre, qui montre in primis son importance littéraire. Le cœur de ma thèse est l'édition du texte latin présenté selon une nouvelle numérotation et avec quelques différences par rapport au texte de Diggle-Goodyear (Cambridge 1970). Une importante découverte philologique nous a permis d'établir le véritable incipit du livre V de la Iohannis, jusqu’à présent reconnu traditionnellement dans en un endroit déterminé par une conjecture de G. Loewe, accueillie par l'édition Petschenig et après Diggle-Goodyear. Dans une riche introduction divisée en deux sections et qui précède le commentaire, on parle de la tradition du texte et on encadre historiquement l'activité du poète. Après, nous décrivons les formes d'écriture épique du livre V de la Iohannis, livre par excellence de la Bataille, entre histoire et clichés littéraires (furor bellicus comme Erinys, cohortationes des généraux aristiai, similitudes conduisent à la même idée de guerre sainte, dans une lignée héroïque et mythologique). / Subject of this thesis is the commentary to Coripp. Ioh 5*,49-396 [=5,1-348 Petsch.], that is the description of Antonia Castra’s battle. My intention is to offer a study on Corippus’ work, where first is clear its literary importance. The heart of my thesis is the edition of the Latin text that is based on a new numbering of the verses and with some differences compared with the Diggle-Goodyear’s edition (Cambridge 1970). A very important philological discovery has allowed us to establish the real beginning of Iohannis’ book V, traditionally recognized until Diggle-Goodyear in a point determined by a G. Loewe's conjecture. In a rich introduction, divided into two sections and which precedes the commentary, we talk about the tradition of the Iohannis, through the Trivultianus 686, the only surviving manuscript, and we introduce the poet's historical background. After that, we describe the epic shapes of the book V, the very book of the Battle, between concrete history and literary stereotypes (furor bellicus like Erinys, generals’ cohortationes, aristiai, similies lead us to the same idea of “crusade” ante litteram, following an heroic and mythologic line).

Bien qu’arabophones, c’est en français que les enfants lisent principalement, langue qui est également, pour la majorité d’entre eux, celle de l’enseignement. Les éditeurs libanais francophones ne proposant qu’une production extrêmement réduite, les enfants vont devoir se tourner vers des romans français dont ils ne sont pas les destinataires premiers. Pour eux, se pose alors la question de la réception de ces romans où il leur sera difficile de se retrouver sachant que ces livres tournés vers la contemporanéité, donnent à voir la réalité sociale d’un monde qui n’est pas le leur.Aménagée en trois parties, la thèse apporte d’abord un éclairage sur certains particularismes culturels, linguistiques et éducatifs constitutifs de l’identité libanaise. Pour mieux comprendre le rapport des enfants avec la lecture, les productions des éditeurs francophones de jeunesse sont présentées ainsi que les structures publiques, privées ou associatives qui permettront la rencontre avec les livres. La seconde partie se concentre sur la réception par les enfants libanais du paratexte et de l’incipit d’un corpus de romans français destinés aux 8/11 ans. Cette analyse explicite les stratégies de séduction privilégiées par les éditeurs et les auteurs français. La troisième partie présente la production éditoriale des fictions francophones destinées au marché scolaire ainsi que les particularités de leur forme d’écriture. Le traitement fictionnel de certaines représentations sociales dans des titres français et libanais francophones est ensuite abordé comme les rôles parentaux, l’éducation, la mort et la guerre, dans les romans ayant le Liban comme thématique. / Despite speaking Arabic as their mother tongue, it is French that children mostly read, obviously because French is - for the majority of them - the medium of instruction. However, Lebanese publishers of French-speaking books offer a very narrow selection, hence the children’s turning to French novels whom they are not the first recipients. But how do these children receive such novels? It would be difficult for them to identify with these modernity-oriented-books that portray the social reality of a world that is not theirs. This threefold-thesis first provides insight into a number of specific cultural, linguistic and educational constituents of the Lebanese identity. And to better understand the relationship between children and reading, the first part presents the productions of French-speaking publishers of youth novels, along with public, private and other community facilities that organize “book encounters”.The second part studies the Lebanese children’s reception of the paratext and the incipit of a corpus of French novels written for the 8/11 year olds. This analysis explains the strategies of appeal favored by French publishers and authors.The third part describes the editorial production and specific writing style of Lebanese French-speaking fiction intended for the school market. The fictional approach of some social representations in French and Lebanese French-speaking books is then tackled, such as parenting, education, death and war in Lebanon- themed novels.

Made available in DSpace on 2016-04-28T19:58:49Z (GMT). No. of bitstreams: 1 MONICA MARIA RODRIGUES SILVA.pdf: 2794156 bytes, checksum: 5d245cabc7bcb4dab08da705175900de (MD5) Previous issue date: 2005-10-31 / Este trabalho propõe a partir da análise d As Farpas que Eça de Queiroz desde os vinte e seis anos até o final de vida se manteve fiel aos seus propósitos jornalísticos literários e de crítica social Partindo do julgamento que pouco se discutiu sobre a produção jornalística deste autor especialmente sobre As Farpas tal estudo tem por objetivo também entender a obra farpista como uma definição inicial da sua escrita de seu estilo de sua arte e de sua postura frente à sociedade portuguesa do século XIX Metaforicamente dizendo pode-se entender tal criação jornalística como um incipit da obra romanesca queiroziana Assim o aprofundamento e a análise dos artigos farpistas permitem reconhecer diversos fatores que contribuíram para o desenvolvimento das obras ficcionais de Eça de Queiroz como a ironia a linguagem inovadoram bem como a Verdade e a Justiça a serviço da arte e da reflexão crítica No primeiro capítulo delineou-se a visão jornalística de Eça de Queiroz incluindo um breve histórico da imprensa e algum conceito sobre o jornalismo literário No segundo capítulo a intenção foi apresentar As Farpas com as suas características estilísticas e a influência desta obra no Brasil O terceiro capítulo discutiu As Farpas a partir de uma primeira perspectiva ou seja sua observação dos fatos por meio da leitura de jornais da época e de seu olhar perspicaz da realidade que o envolvia No quarto capítulo segunda perspectiva partiu-se d As Farpas para a produção ficcional Por fim abordando fundamentos teórico-analítico-críticos desenvolveram-se argumentos favoráveis a fim de que se perceba n As Farpas a origem de um estilo e do um discurso consagrados mais tarde em romances e contos