Tradução intersemiótica do conto Nenhum, nenhuma, de João Guimarães Rosa, para a linguagem cênica, num exercício de transliteração da prosa para a encenação. Ordenado de maneira sistematizada, esse processo de encontro da linguagem rosiana com a linguagem cênica mostra a transformação do conto em uma encenação, a partir de sistemas semióticos de análise para a construção de signos cênicos, numa intensa dialética entre prática e teoria. Numa reflexão estética, a Autora funda sua busca nas experimentações das relações e das modulações de inflexão da oralidade do conto rosiano dentro do espaço cênico, partindo do pressuposto de que a representação cênica é um amálgama de estratégias, antevistos por ela, como pesquisadora e como encenadora, direcionando, nesta condição, a re-produção dos efeitos, para o público. O resultado dessa incursão constitui a dramatização O Caminhar das Sombras Imemoriais. Processo de encontro que será re-vivenciado, no Teatro, pela Banca Examinadora e espectadores. / Intersemiotic translation of the short story Nenhum, Nehuma by Guimarães Rosa, into scenic language, in a transliteration exercise from prose to performance. Arranged in a systematized manner, this meeting process between Guimarães Rosa\'s and scenic language shows the transformation of the short story into a staged performance by using semiotic systems of analysis to build scenic signs in an intense dialectics between theory and practice. From a aesthetic reflection, the author bases her search in the experimentation of the oral expression relations and modulations in Rosa´ short stories within a scenic space, assuming that the scenic representation is an amalgam of organised strategies, anticipated by her as a researcher and theatre director, directing, as such, the reproduction of the effects to the audience. The result of this incursion constitutes the dramatisation The Walking of the Immemorial Shadows. This process the encounter should be re-experienced, in the theatre by the Board of Examination and spectators.

Tradução intersemiótica do conto Nenhum, nenhuma, de João Guimarães Rosa, para a linguagem cênica, num exercício de transliteração da prosa para a encenação. Ordenado de maneira sistematizada, esse processo de encontro da linguagem rosiana com a linguagem cênica mostra a transformação do conto em uma encenação, a partir de sistemas semióticos de análise para a construção de signos cênicos, numa intensa dialética entre prática e teoria. Numa reflexão estética, a Autora funda sua busca nas experimentações das relações e das modulações de inflexão da oralidade do conto rosiano dentro do espaço cênico, partindo do pressuposto de que a representação cênica é um amálgama de estratégias, antevistos por ela, como pesquisadora e como encenadora, direcionando, nesta condição, a re-produção dos efeitos, para o público. O resultado dessa incursão constitui a dramatização O Caminhar das Sombras Imemoriais. Processo de encontro que será re-vivenciado, no Teatro, pela Banca Examinadora e espectadores. / Intersemiotic translation of the short story Nenhum, Nehuma by Guimarães Rosa, into scenic language, in a transliteration exercise from prose to performance. Arranged in a systematized manner, this meeting process between Guimarães Rosa\'s and scenic language shows the transformation of the short story into a staged performance by using semiotic systems of analysis to build scenic signs in an intense dialectics between theory and practice. From a aesthetic reflection, the author bases her search in the experimentation of the oral expression relations and modulations in Rosa´ short stories within a scenic space, assuming that the scenic representation is an amalgam of organised strategies, anticipated by her as a researcher and theatre director, directing, as such, the reproduction of the effects to the audience. The result of this incursion constitutes the dramatisation The Walking of the Immemorial Shadows. This process the encounter should be re-experienced, in the theatre by the Board of Examination and spectators.

La présente recherche vise à décrire, dans le contexte universitaire toulousain, les différents usages pédagogiques des étudiants en MITIC et en vidéos, et à mieux comprendre s’il peut exister un lien favorable entre MITIC et vidéo et réussite éducative afin de pouvoir mettre les MITIC et les vidéos à contribution pour améliorer significativement les niveaux d’études universitaires des étudiants. Cette recherche est tout spécialement importante dans notre contexte où les MITIC et les vidéos font de plus en plus leur apparition en pédagogie d’enseignement supérieur et où les étudiants fréquentent les MITIC et les vidéos dans leurs pratiques plus que les enseignants. Le cadre de référence retenu pour la recherche est structuré autour des concepts de l’intégration des MITIC et vidéo en enseignement, de l’apprentissage lié aux MITIC et aux vidéos, de facteurs de la réussite éducative. Pour atteindre nos objectifs, nous avons opté pour une démarche quantitative. Nous avons mené une enquête par questionnaire auprès de 554 étudiants. Il ressort des résultats que la majorité des étudiants ont une opinion en général positive sur l’apport des MITIC et des vidéos pour l’enseignement et l’apprentissage actif. D’où, un avis en général favorable sur le lien entre l’usage des MITIC et des vidéos et la réussite éducative. La conséquence logique de ces résultats est qu’il existe un lien significatif entre MITIC et vidéos et réussite éducative en contexte universitaire toulousain. / The objective of this research is to describe, in the context of university in Toulouse, the different educational uses of students in MIICT, in videos, and to better understand whether there can be a positive relationship between MIICT, video and educational success in order to be able to put the MIICT and video to contribute to improve significantly the levels of academic study of students. This research is especially important in our context where the appearance MIICT and the videos are more and more in pedagogy of higher education and where students are attending to the MIICT and videos in their practices more than teachers. The research framework is therefore structured around the concepts of the integration of MIITC and video in teaching and learning with MIICT, and factors of the educational success.To achieve our objectives, we used a quantitative approach. We administered a survey questionnaire to 554 students. It is clear from the results that, in general, the majority of students have an agreement in general positive of the contribution of MIICT and videos for teaching and active learning. Hence, an agreement, in general, favorable of the link between the use of MIICT and videos and educational success. The logical consequence of these results is that there is a significant relationship between MIICT/videos and educational success in university of Toulouse II. / يهدف البحث الحالي إلى وصف مختلف الاستخدامات التعليمية للطلاب في الإعلام والصور وتكنولوجيا المعلومات والاتصالات mitic والفيديو، ضمن سياق جامعة تولوز 2، وإلى فهم أفضل ما إذا كان هناك صلة مواتية بين mitic والفيديو والنجاح التعليميّ، وذلك من أجل إمكانية وضع الـ mitic والفيديو للمساهمة في تحسين مستويات النجاح الدراسيّ الجامعيّ بشكل أكبر. يكتسب هذا البحث أهمية خاصة في سياق الدراسة حيث تظهر الـ mitic والفيديو بصورة متزايدة في طرق التّعليم الجامعيّ وحيث أنّ الطلاب يميلون بشكل ملحوظ لاستخدام أدوات التكنولوجيا في تطبيقاتهم وأنشطتهم التّعليمية بشكل أكتر من الأساتذة. يتمحّور إطار البحث حول مفاهيم دمج الـ mitic والفيديو في التدريس، والتّعليم ذات الصلة بتكنولوجيا الإعلام والمعلومات والاتصالات والفيديو، وعوامل النجاح التعليميّ. ولتحقيق أهدافنا، اتّبعنا المنهج الكميّ. حيث أجرينا استبيان ل 554 طالب جامعي. وتظهر النتائج أنّ غالبية الطلاب لديهم اتفاق إيجابي بالعموم حول مساهمة تكنولوجيا الإعلام والصور والاتصالات والمعلومات والفيديو من أجل تعلّم فعّال. هذا الاتفاق مواتٍ بالعموم للربط بين استخدام الـ mitic والفيديو وبين النجاح التعليميّ للطلبة. النتيجة المنطقية لهذه النتائج هي أنّ هناك علاقة كبيرة بين استخدام الـ mitic والفيديو وبين النجاح التعليميّ في سياق جامعة تولوز2.