Cette recherche propose de rendre compte de l'invention des Appalaches en tant que région « étrange et particulière ». Les écrivains « couleur locale » du dix-neuvième siècle ont contribué à ancrer dans la conscience nationale l'image oxymorique de l'Appalachien à la fois bon sauvage, mais surtout hillbilly dégénéré. A partir de l'entre-deux-guerres, puis à la fin des années 60 lors de la « Renaissance Appalachienne », des écrivains autochtones, parmi lesquels Mary Lee Settle, Lee Smith, Denise Giardina, se sont dressés pour réfuter cette identité prescrite. Ces trois voix singulières sont celles de femmes rebelles liées par un même combat : dans une démarche de type postcolonial, elles ont revisité l'histoire régionale afin de faire voler en éclats un siècle de représentations essentialistes et de dénoncer la destruction environnementale infligée aux montagnes appalachiennes par l'industrie houillère / The aim of this research is to look into the invention of Appalachia as a « strange and peculiar » region. Nineteenth-century « local color » writers contributed to etching the oxymoronic image of the Appalachian as – the good savage, but mostly as the degenerate hillbilly – in the national consciousness. Starting in the interwar period, then in the late 1960s during the « Appalachian Renaissance », native writers rose up to reject this prescribed identity, among whom Mary Lee Settle, Lee Smith and Denise Giardina. These three singular voices belong to rebel women united in a common fight: using a postcolonial approach, they have revisited the regional history to shatter century-old essentialist representations and to denounce the MTR devastation caused by the coalmining industry in the Appalachian Mountains

Cette thèse traite des métamorphoses de Jinsuo ji, roman d’Eileen Chang publié à Shanghai en 1943. Il s’agit d’abord d’une double réécriture translingue par l’écrivaine elle-même, exilée aux États-Unis depuis 1955. L’analyse des procédés de réécriture dans ces deux romans jumeaux, l’un en anglais intitulé The Rouge of the North (1967), l’autre en chinois Yuannü (1966), permet de faire la lumière sur les stratégies d’écriture bilingue et l’évolution stylistique de l’auteur face à deux lectorats distincts. En 1971, l’auto-traduction stricto sensu de Jinsuo ji est parue sous le titre The Golden Cangue. La publication de cette version littéralisante dans le cercle universitaire américain nous conduit à nous interroger par ailleurs sur l’identité d’une œuvre et sur le statut littéraire de sa traduction, auctoriale ou non. Cela nous permet d’une part de proposer un autre regard sur la réception inégale des écrits d’Eileen Chang en deux langues, et d’autre part, de percevoir, à travers son exemple, un espace « trans-littéraire » qui reste à construire via la traduction, afin qu’une œuvre littéraire puisse entrer en contact avec un nouveau public et dévoiler ainsi sa pluralité. En suivant ce trajet vers l’autre, nos réflexions se prolongent jusqu’aux réécritures non auctoriales de Jinsuo ji. Depuis les années 1980, l’œuvre s’est métamorphosée dans le monde sinophone en film, pièce de théâtre, opéra chinois et série télévisée : ces dernières métamorphoses ne traduisent pas seulement l’engouement toujours vif du public sinophone pour les œuvres d’Eileen Chang, mais elles nous permettent aussi d'observer l’image en devenir de l’écrivaine au fil de leurs réceptions différentes. / This thesis focuses on the metamorphosis of Eileen Chang’s novelette, Jinsuo ji, first published in Shanghai in 1943. In the 1960s, the author, who had been living in the United States since 1955, rewrote this work into an English-language novel, The Rouge of the North, and published almost simultaneously a Chinese version, Yuannü. Through the analysis of her translingual rewriting, an attempt will be made to explore the differences between these versions, in order to shed light on the strategies of rewriting and the evolution of Eileen Chang’s style vis-à-vis two different readerships. Moreover, in 1971, her self-translation of Jinsuo ji, The Golden Cangue, was published in the American academic circle. The study of this English version leads us to reconsider the “identity” of a literary work and the “literary status” of its translation, be it authorial or not. More precisely, the different reception of two versions of a work in Eileen Chang’s case is re-examined from a “trans-literary” perspective: in order to bring a literary work to its new public, thus revealing its plurality, it seems that an interspace between literatures remains to be constructed through translation. By tracing the trajectory of a work towards the other, our reflections will be eventually extended to a number of contemporary adaptations of Jinsuo ji and Yuannü. Since the 1980s, these two works have been adapted into film, theater, Chinese opera and TV series in the Sinophone world. These cross-field rewritings not only reveal the Sinophone public’s passion for Eileen Chang’s works, but also allow us to observe the changing image of the writer in the process of their different receptions.

Dans cette thèse, nous présentons des applications de la réécriture à l'étude de problèmes issus de la catégorification et de la théorie des représentations. En particulier, nous appliquons les méthodes de réécriture aux problèmes de cohérence dans les catégories linéaires et au calcul de décatégorifications. Des méthodes de réécriture ont été développées pour obtenir des résultats de cohérence dans les monoïdes et les catégories monoïdales présentés par des systèmes de réécriture nommés polygraphes. Ces constructions basées sur des résultats de Squier permettent en particulier de calculer des présentations cohérentes de catégories de dimension supérieure à partir des diagrammes de confluence de polygraphes convergents. Dans ce mémoire, nous étendons ces constructions pour obtenir des résultats de cohérence dans les catégories linéaires de dimension supérieure. Nous introduisons les polygraphes linéaires afin de présenter les catégories linéaires de dimension supérieure par des systèmes de réécriture. Nous étudions ensuite les propriétés de réécriture de ces systèmes. Nous donnons une description polygraphique du calcul de décatégorification de Grothendieck. Nous généralisons également la procédure de Knuth-Bendix appliquée aux polygraphes de dimension supérieure. Cette procédure permet de compléter des présentations de catégories de dimension supérieure n'admettant pas nécessairement d'ordre de terminaison induit par une orientation des règles. De plus, nous étudions des problèmes de cohérence dans les catégories de dimension supérieure. Etant donné un polygraphe confluent et quasi-terminant, nous introduisons une notion de complétion de Squier de ce polygraphe composée de diagrammes de décroissance. Nous prouvons que cette complétion rend asphérique la catégorie de dimension supérieure libre sur ce polygraphe. Ce résultat généralise un résultat de Squier au cas des présentations quasi-terminantes. Nous présentons enfin les applications des propriétés des polygraphes linéaire à l'étude de la catégorie AOB définie par Brundan, Comes, Nash et Reynolds. Nous retrouvons par des méthodes de réécriture les bases des espaces de morphismes de AOB exhibées par Brundan, Comes, Nash and Reynolds / In this thesis, we study applications of rewriting theory to categorification problems and representation theory. We apply rewriting methods to coherence problems in linear categories and computation of decategorifications.Proofs of coherence results for monoids and monoidal categories by rewriting methods are well known. In particular, several constructions based on Squier's results lead to the computation of coherent presentations of higher-dimensional categories from the confluence diagrams of convergent rewriting systems. In this memoir, we extend those constructions to coherence results for higher-dimensional linear categories.We introduce linear polygraphs to present higher-dimensional linear categories by rewriting systems. We then develop the main rewriting properties of these systems. We focus next on the applications of those properties to the study of categorification problems such that the computation of Grothendieck decategorification by rewriting methods. Another result we obtain on higher-dimensional polygraphs is a generalization of the Knuth-Bendix procedure to higher-dimensional polygraphs. This new procedure allows us to complete presentations of higher-dimensional categories which do not necessarily admit a termination order induced by any orientation of rules.We also study general coherence problems. Given a confluent and quasi-terminating polygraph, we define a globular extension of this polygraph called decreasing Squier's completion. We prove that this extension makes aspherical the free higher-dimensional category over the given polygraph. This result generalizes a result of Squier to the case of non terminating presentations.Finally, we focus on the applications of those properties to higher-dimensional linear categories such that the category AOB defined by Brundan, Comes, Nash and Reynolds. We find by rewriting methods the bases of the morphisms spaces of AOB that Brundan, Comes, Nash and Reynolds exhibited

L’analyse d’accessibilité est une des composantes de l’analyse de modèles. Elle consiste à modéliser un système complexe par trois ensembles : le langage initial, le langage des configurations indésirables et un système de réécriture. Le langage initial et le langage des configurations indésirables sont des ensembles de termes. Un terme est un mot mais construit à partir de symboles d’arités supérieures à 1. Le système de réécriture représente la dynamique du système complexe. C’est un ensemble de règles qui permettent d’obtenir un nouveau terme à partir d’un terme original. Pour effectuer une analyse d’accessibilité à partir de cette modélisation, on peut calculer l’ensemble des configurations accessibles. Cet ensemble aussi appelé ensemble des descendants est obtenu en appliquant le système de réécriture sur le langage initial jusqu’à ne plus obtenir de nouveaux termes. Une fois l’ensemble des descendants calculé, il reste à faire l’intersection entre celui-ci et l’ensemble des configurations indésirables. Si cette intersection est vide, alors il n’y a pas de configuration indésirable accessible, sinon les configurations présentes dans cette intersection sont accessibles. Cependant, l’ensemble des descendants n’est pas calculable dans le cas général. Pour contourner ce problème, nous calculons une sur-approximation des descendants. Ainsi, si l’intersection est vide, cela signifie toujours qu’aucune configuration indésirable n’est accessible. A contrario, s’il existe un terme dans l’intersection, il n’est pas possible de déterminer s’il s’agit d’un faux positif ou d’une configuration indésirable accessible. La précision de la sur-approximation est alors déterminante. / Reachability analysis is part of model checking. It consists to model complex systems by three sets : initial language, unwanted configurations and rewrite system. The initial language and the unwanted configurations language are sets of terms. Terms are words which are construct with symbols that have an arity that can be greater than 1. The rewrite system represent the dynamic of the complex system. It is a set of rules that permit from a initial term to obtain a new term. One of the approaches to analyze reachability from this modelling is to compute the set of reachable configurations. This set which is called set of descendants is obtained by applying the rewrite system on the initial language until obtaining no more new terms. After the set of descendants is computed, we need to compute the intersection between this set and the unwanted configurations set. If this intersection is empty then there is no unwanted configuration reachable, else the configurations in this intersection are reachable. However, the set of descendants is not computable in the general case. To bypass this problem, we compute an over-approximation of descendants.Now, if the intersection is empty, we keep proving that no unwanted configuration is reachable. Nevertheless, if the intersection is not empty, it is not possible to know if it comes from false-positives or form unwanted reachable configurations. So, the precision of the over-approximation is decisive.

As the complexity of embedded systems grows, there is an increasing use of operating systems (OSes) in embedded devices, such as mobile phones, media players and other consumer electronics. Despite their convenience and flexibility, such operating systems can be overly general and contain features and code that are not needed in every application context, which incurs unnecessary performance overheads. In most embedded systems, resources, such as processing power, available memory, and power consumption, are strictly constrained. In particular, the amount of memory on embedded devices is often very limited. This, together with the popular usage of operating systems in embedded devices, makes it important to reduce the memory footprint of operating systems. This dissertation addresses this challenge and presents automated ways to reduce the memory footprint of OS kernels for embedded systems. First, we present kernel code compaction, an automated approach that reduces the code size of an OS kernel statically by removing unused functionality. OS kernel code tends to be different from ordinary application code, including the presence of a significant amount of hand-written assembly code, multiple entry points, implicit control flow paths involving interrupt handlers, and frequent indirect control flow via function pointers. We use a novel "approximated compilation" technique to apply source-level pointer analysis to hand-written assembly code. A prototype implementation of our idea on an Intel x86 platform and a minimally configured Linux kernel obtains a code size reduction of close to 24%.Even though code compaction can remove a portion of the entire OS kernel code, when exercised with typical embedded benchmarks, such as MiBench, most kernel code is executed infrequently if at all. Our second contribution is on-demand code loading, an automated approach that keeps the rarely used code on secondary storage and loads it into main memory only when it is needed. In order to minimize the overhead of code loading, a greedy node-coalescing algorithm is proposed to group closely related code together. The experimental results show that this approach can reduce memory requirements for the Linux kernel code by about 53%with little degradation in performance. Last, we describe dynamic data structure compression, an approach that reduces the runtime memory footprint of dynamic data structures in an OS kernel. A prototype implementation for the Linux kernel reduces the memory consumption of the slab allocators in Linux by 17.5%when running the MediaBench suite while incurring only minimal increases in execution time (1.9%).

In this thesis we describe an approach to automatically invent/explore new mathematical theories, with the goal of producing results comparable to those produced by humans, as represented, for example, in the libraries of the Isabelle proof assistant. Our approach is based on ‘schemes’, which are formulae in higher-order logic. We show that it is possible to automate the instantiation process of schemes to generate conjectures and definitions. We also show how the new definitions and the lemmata discovered during the exploration of a theory can be used, not only to help with the proof obligations during the exploration, but also to reduce redundancies inherent in most theory-formation systems. We exploit associative-commutative (AC) operators using ordered rewriting to avoid AC variations of the same instantiation. We implemented our ideas in an automated tool, called IsaScheme, which employs Knuth-Bendix completion and recent automatic inductive proof tools. We have evaluated our system in a theory of natural numbers and a theory of lists.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O objetivo deste trabalho à analisar o processo de traduÃÃo da personagem Elizabeth Bennet, protagonista do romance Pride & Prejudice, publicado em 1813, de autoria da escritora inglesa Jane Austen, para o filme Pride and Prejudice (1940), de Robert Z. Leonard. Em sua obra, Austen constrÃi uma crÃtica a padrÃes socioculturais que relegam posiÃÃo inferior à mulher do sÃculo XIX em relaÃÃo ao sexo masculino. Tal crÃtica està presente de maneira sutil em sua narrativa, principalmente, centrada na personagem Elizabeth Bennet, pois Austen a apresenta como uma mulher inteligente, irÃnica, decidida e ousada; qualidades que nÃo eram associadas ao comportamento feminino durante o sÃculo XIX. Por apresentar personagens femininas de carÃter decidido, suas criaÃÃes ganham qualidade atemporal, sendo projetadas à posteridade por meio de traduÃÃes. Pride & Prejudice foi adaptado pela primeira vez para o cinema hollywoodiano em 1940, na versÃo supracitada de Leonard. E, sendo o cinema um meio que atinge grande pÃblico formado por leitores e nÃo leitores de obras literÃrias, indagamo-nos quais estratÃgias foram empregadas no processo tradutÃrio da referida personagem para a narrativa fÃlmica. Portanto, partimos da hipÃtese de que, ao ser traduzida para as telas, a personagem à reestruturada e a crÃtica à apagada para ceder lugar a uma narrativa cÃmica e romÃntica. Como base teÃrica, utilizamos princÃpios de Estudos da TraduÃÃo: Lefevere (2007), com o conceito de traduÃÃo como Reescritura e Cattrysse (1995), que concebe a adaptaÃÃo fÃlmica como traduÃÃo. Quanto aos estudos de cinema e literatura, utilizamos Martin (2005), Eisenstein (2002) e McFarlane (2010); e no que diz respeito a questÃes literÃrias, utilizamos Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) e Forster (2004). Os resultados mostraram que ocorreram mudanÃas na configuraÃÃo da personagem cinematogrÃfica, obedecendo aos critÃrios do sistema receptor e apagando o teor crÃtico encontrado no romance de Austen. Mostraram ainda que a obra fÃlmica projetou o universo literÃrio do romance para um pÃblico mais amplo, dada as reediÃÃes do romance durante aquela dÃcada, em decorrÃncia da exibiÃÃo do filme. / This dissertation aims at analyzing the process of translating the character of Elizabeth Bennet, protagonist of the novel Pride & Prejudice, first published in 1813 by the English author, Jane Austen, into the film version Pride & Prejudice (1940), by Robert Z. Leonard. In her novel, Austen criticizes sociocultural patters which relegate women to an inferior position in relation to the male sex. Such criticism is subtlety present in the narrative and, especially, in the character of Elizabeth Bennet, who is seen as an intelligent, ironic and decisive woman. These qualities differ from the moral idea of women in nineteenth-century England. The presentation of this type of female character assures her of a timeless quality which is transmitted to posterity by means of translations. Pride & Prejudice was first translated for the Hollywood film in 1940, in the above mentioned Leonardâs version. Since the cinema is a medium that reaches a large audience of both readers and non-readers of literary works, one may question the strategies that are implied in the translation process of such character to the silver screen. It may be correctly assumed that when thus translated, any social criticism presented by the principal literary character tends to give way to a narrative which proposes entertainment, focusing on the love and comical relationship between the protagonists of the novel. The theoretic basis for the present analysis is based on the following concepts of translation: Lefevereâs translation rewriting (2007) and Cattrysseâs postulate (1995) which conceives film adaptation as a type of translation. Concerning film adaptation, Martin (2005), Eisenstein (2002) and McFarlaneâs (2010) studies, which regard cinema as a linguistic art in its own right, were incorporated into our analysis as were those of Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) and Forster (2004), all of whom discuss the structure of the fictional character. Such studies have resulted in a new configuration of the cinematographic character. Based on the criteria on the target system, this configuration permits the deleting of the critical level found in the universe of the novel and introduces the original work to a wider audience, as can be proved by the republishing of the novel in various editions after the release of the film version in 1940.

La littérature gabonaise, forte de son dynamisme, voit davantage d’écrivains faire le choix de décrire les réalités sociales dans une langue française réappropriée. Ce qui consiste pour eux à réinventer le français, à l’image de leur société, et à en faire leur propre langue d’écriture. Notre thèse se propose d’étudier ce phénomène dans le polar gabonais, ce genre en plein essor représenté par Janis Otsiémi, et de démontrer que la créativité du point de vue de la langue reste indissociable de l’engagement et de la conviction de l’écrivain gabonais, et afro-subsaharien par extension. En premier abord, il est question de distinguer la langue d’écriture de l’écriture de la langue. Pour cela, étudier les stratégies d’écriture de l’écrivain, relever les divers gabonismes et africanismes présents dans le roman d’Otsiémi et les fonctions propres à chacune des particularités linguistiques, nous permet de faire état de l’esthétique littéraire et des pratiques langagières gabonaises. En second lieu, l’objectif est pour nous de procéder à une herméneutique de l’oeuvre d’Otsiémi pour dégager grâce à la subversion de l’écriture la poétique subversive de son oeuvre. Pour ce faire, situer le style de l’auteur revient à évaluerl’engagement de l’auteur vis-à-vis de la langue et de l’écriture, à faire face à une écriture hybride résultant du foisonnement des intertextes, et à aborder l’identité à la fois revalorisée et déconstruite par l’auteur, respectant ainsi le principe élémentaire du polar qu’est celui d’écrire le noir. / The Gabonese literature, strong in its dynamism, sees more writers make the choice to describe social realities in a French language reappropriated. What is for them to reinvent the French, in the image of their society, and to make their own language of writing. Our thesis proposes to study this phenomenon in the Gabonese crime novel, this booming genre represented by Janis Otsiemi, and to demonstrate that creativity from the point of view of language remains inseparable fromthe commitment and conviction of the Gabonese writer, and afro-sub-Saharan by extension. At first, it is a question of distinguishing the language of writing from the writing of the language. To do this, to study the writer's writing strategies, to identify the various gabonisms and Africanisms present in Otsiemi's novel and the functions proper to each linguistic peculiarity, allows us to describe literary aesthetics and Gabonese languages practices. In the second place, the objective is for us to proceed with a hermeneutic of the work of Otsiemi to free, thanks to the subversion of writing, the subversive poetics of his work. To do this, situating the author's style amounts to evaluating the author's commitment to language and writing, to coping with a hybrid writing resulting from the proliferation of intertexts, and to approach the identity both revalorized and deconstructed by the author, thus respecting the elementary principle of the crime novel that is to write black.

Este trabalho examina modalidades intertextuais em quatro peças de Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) e Ariel (2002) -, tendo por objetivo mostrar que a obra da dramaturga, embora organicamente integrada na tradição dramatúrgica irlandesa, exibe um ponto de tensão entre o desejo de preservação de aspectos tradicionais do teatro irlandês e a rebeldia que se traduz na subversão de velhas fórmulas. Esses dois pólos entre os quais se situam as peças da dramaturga revelam-se através da paródia, da alusão, do travestimento e da reescritura, por um lado, e, por outro, através da mistura dos gêneros. As peças selecionadas evidenciam a trajetória percorrida por Marina Carr na medida em que ao mesmo tempo em que se afirmam como locais, lidam com temas que ultrapassam as fronteiras do nacional. / This thesis examines modes of intertextuality in four plays by Marina Carr - Low in the Dark (1989), The Mai (1994), By the Bog of Cats (1998) and Ariel (2002) -, and aims at demonstrating that her theatre production, although organically integrated into the Irish drama tradition, presents a point of tension between the wish to cling to traditional features of Irish theatre and the rebellion against them. These two poles between which the playwright\'s work can be defined are revealed, on the one hand, through intertextual forms such as parody, allusion, travesty and rewriting and, on the other, by the mixture of genres. The chosen plays show evidence of Marina Carr\'s trajectory insofar as they present marks of Irishness and at the same time deal with themes that are not restricted to national problems.

This research report is concerned with translation in which culture plays a major role, and examines the issues involved in translating for a specific audience – in this case Arabic-speaking Moslem children in Egypt. Translation is firstly discussed in a broader context, demonstrating that translation needs to be understood either as “rewriting” or “cultural textualisation” (Snell-Hornby, 1997:123). Secondly, the translation of children’s literature is discussed as a type of translation operating through an encounter with both culture and linguistics. Overlaps between language and culture are located and the importance of contextual adaptation is emphasised in relation to solutions proposed for addressing the cultural problems raised in the translation of Peter Slingsby’s The Joining for Egyptian children. In conclusion, suggestions are made concerning translation as adaptation in the form of possible guidelines for future translators of children’s literature into Arabic.