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Book series are large and dynamic structures that allow us to reflect on concepts such as systems, rewriting, agency and materiality, while offering rich data to advance the history of translation. This research focuses on an emblematic Mexican paperback series called Sepan Cuantos… (SC, hereafter), initiated in 1959 and still ongoing. My overarching aim was to understand the transformation of translation practices in the series throughout time in view of the context in which it was developed and the agents that were involved in it. The development of SC goes hand in hand with the development of the publishing industry in Mexico. Throughout its lifespan, national book production has greatly expanded, affecting the demands of the market where this series has circulated. Additionally, SC’s history is inscribed in the broader dynamics of the Hispanic publishing industry, where Spain has maintained hegemony over the production of translations, and the language and ideology represented in them. In order to understand how SC related to this context, archaeological work was required. The questions What was translated? By whom? and How were translations presented? guided the analysis. My findings reveal a wide spectrum of approaches to translation in SC. On one side of the spectrum there is the series as a commercial endeavour, unconcerned with producing terse, ad hoc rewritings of foreign literature for a Mexican audience by favouring the repurposing of pre-existing Spanish translations and paratexts. This is translation in the age of mass production. On the other side of the spectrum, there are the sporadic cases of assumed agency, where the limits of the repertoire are challenged and where the opportunity to produce original translations and prefaces is highly exploited. There is no overarching translation policy in SC, and this gives rise to a basic tension between the homogeneity expressed by the series’ format and the heterogeneity of the translation and prefatory practices observed in the volumes. Focused on the disorder hidden behind the uniformity of these books' covers, this thesis explores the transgressive bodies in which translations can reach their readers. Translation in 20th and 21st century Mexico has been thus far studied from the angle of its most dignified and ideologically coherent products and translators. However, the less terse translation practices in SC, a highly heterogeneous product that embodies a lot of discoursive tensions, cannot be overlooked. SC’s impossible combinations reflect how the hybridity that is characteristic of Latin American culture has touched translation too.

La question de la réécriture du théâtre au XVIIIe siècle implique tout d’abord une réflexion sur le statut de l’œuvre littéraire à une époque où les droits d’auteur au sens où nous l’entendons aujourd’hui n’étaient pas reconnus et où le respect scrupuleux de la lettre des textes publiés n’était pas une obligation. Les auteurs postclassiques construisent en effet leur esthétique dramaturgique d’après la dramaturgie des auteurs de l’époque de Louis XIV. Ce processus relève principalement de leur ambition d’atteindre la réputation de Molière, de Racine et de Corneille. Une situation identique se produit aussi chez les auteurs des suites théâtrales du Mariage de Figaro de Beaumarchais. Par toutes ces caractéristiques, le théâtre du XVIIIe siècle représente sans doute une prolongation du théâtre du siècle précédent. Néanmoins, les éléments novateurs se profilent à travers les pièces des auteurs de l’époque. Ces éléments contribuent en même temps à la prise de distance avec la dramaturgie classique qui (la prise de distance) se développera progressivement. Par exemple, les successeurs de Molière, avec Marivaux au premier rang, semblent amplement influencés par la dramaturgie de l’auteur du Tartuffe et du Misanthrope. Cependant, pour ces dramaturges, le théâtre de Molière ne fut qu’un modèle permettant la constitution de leur propre esthétique théâtrale. Presque chaque auteur comique du XVIII siècle apporte une dimension novatrice personnelle et originale. Cette étude devrait donc permettre d’établir une typologie des réécritures théâtrales au XVIIIe siècle. / The problem of theatrical rewritings in the 18th century, i.e. the imitations of the great classics is primarily related to the thought of a literary work status in the period in which the authorship rights (in the form known nowadays) were not founded. Namely, in the 18th century there was no obligation as to the respect of author’s rights to any published work. Postclassical authors modelled their dramaturgical aesthetics after the dramaturgy of the authors of the time of Louis XIV. This process is mainly due to their ambition to rival the reputation of Molière, Racine and Corneille. An identical situation also occurs among the authors of the theatrical sequels of the Marriage of Figaro by Beaumarchais. By ail these characteristics, the theater of the eighteenth century probably represents an extension of the theater of the previous century. Nevertheless, the innovative elements are profile in the plays of the authors of the time. At the same time these elements contribute to the detachment from classical dramaturgy which (detachment) will develop gradually. For example, Molières successors, with Marivaux in the forefront, seem to be heavily influenced by the dramaturgy of the author of Tartuffe and Misanthrope. However, for these playwrights, the theater of Molière was only a model allowing the constitution of their own theatrical aesthetics. Almost every comedy playwright of the eighteenth century introduces a personal and original innovative dimension. This study should therefore make it possible to establish a typology of theatrical rewritings in the 18th century.

Large volumes of data produced and shared within scientific communities are analyzed by many researchers to investigate different scientific theories. Currently the analyses are implemented in traditional programming languages such as C++. This is inefficient for research productivity, since it is difficult to write, understand, and modify such programs. Furthermore, programs should scale over large data volumes and analysis complexity, which further complicates code development. This Thesis investigates the use of database technologies to implement scientific applications, in which data are complex objects describing measurements of independent events and the analyses are selections of events by applying conjunctions of complex numerical filters on each object separately. An example of such an application is analyses for the presence of Higgs bosons in collision events produced by the ATLAS experiment. For efficient implementation of such an ATLAS application, a new data stream management system SQISLE is developed. In SQISLE queries are specified over complex objects which are efficiently streamed from sources through the query engine. This streaming approach is compared with the conventional approach to load events into a database before querying. Since the queries implementing scientific analyses are large and complex, novel techniques are developed for efficient query processing. To obtain efficient plans for such queries SQISLE implements runtime query optimization strategies, which during query execution collect runtime statistics for a query, reoptimize the query using the collected statistics, and dynamically switch optimization strategies. The cost-based optimization utilizes a novel cost model for aggregate functions over nested subqueries. To alleviate estimation errors in large queries the fragments are decomposed into conjunctions of subqueries over which runtime statistics are measured. Performance is further improved by query transformation, view materialization, and partial evaluation. ATLAS queries in SQISLE using these query processing techniques perform close to or better than hard-coded C++ implementations of the same analyses. Scientific data are often stored in Grids, which manage both storage and computational resources. This Thesis includes a framework POQSEC that utilizes Grid resources to scale scientific queries over large data volumes by parallelizing the queries and shipping the data management system itself, e.g. SQISLE, to Grid computational nodes for the parallel query execution.

Les romans de Chrétien de Troyes ont suscité beaucoup de réécritures. A partir du XIIIè et jusqu’au XVè siècle, plusieurs romanciers ont repris la trame du Champenois en dépassant l’écriture en vers et en adoptant une écriture en prose jugée mieux garante de la véridicité et de la vraisemblance de l’histoire. Les versions se font concurrence, mêlant différents styles et différentes stratégies et célébrant un phénomène qui s’épanouit surtout dans la prose du Lancelot, l’entrelacement. La langue évolue aussi au fil des siècles. Cette évolution se fait remarquer dans des mises en prose qui sont mieux structurées que d’autres, et ce tant sur le plan narratologique que syntaxique. Cependant, ce souci d’organisation va jusqu’à créer parfois des amalgames sémantiques. Mais dans tous les cas, il révèle la spécificité de chacun des auteurs et leurs choix d’écriture respectifs dans les différentes réécritures des romans de Chrétien de Troyes. / Chrétien de Troyes’ novels aroused many rewritings. From the XIIIth until the XVth century,several novelists resumed the framework of Chrétien’s language by overtaking the writing inverse. They adopted writing in prose considered best granter of truth, similitude andcredibility for the story. The versions would compete through mixing various styles andstrategies and mainly by celebrating a phenomenon which blooms particularly in the prose ofthe Lancelot, the interlacing. The language also evolved in the course of the centuries. Thisevolution is getting noteworthy when used in prose style as such it looks much betterstructured than the other styles in both narration and syntax. Nevertheless, this care fororganization goes as far as creating sometimes some semantic confusion. And yet in mostcases, it reveals the specificity of each author and his own preferences in terms of writingwhen rewriting Chrétien de Troyes’ novels.

Depuis le début des années 2000, l’un des traits distinctifs de la littérature nigériane tient dans son utilisation du genre littéraire du Bildungsroman , dont cette thèse considère les différentes évolutions chez les romancières et romanciers dits de la troisième génération. En examinant une vingtaine de romans, de Waiting for an Angel (2002) de Helon Habila à Freshwater (2018) d’Akwaeke Emezi, ce travail se propose de brosser un portrait panoramique d’un pan de la littérature nigériane ultra-contemporaine par le prisme du Bildungsroman. Prenant appui sur les études de genre, cette étude considère tout d’abord les différentes variations féminines d’un genre littéraire au penchant androcentrique. Les réécritures féminines du Bildungsroman mettent en lumière le développement (ou son échec) d’un point de vue et d’une voix individuels alors que les héroïnes tentent de (se) construire un moi unifié. La tendance allégorique du Bildungsroman sous sa forme traditionnelle est également centrale, et l’Histoire de la nation nigériane, depuis la guerre civile (ou guerre du Biafra, 1967-1970), jusqu’au début des années 2000, est au cœur des intrigues tissées par les ouvrages du corpus : la Bildung des protagonistes se fait en parallèle de celle de la nation. Enfin, au XXIè siècle, les frontières nationales ne semblent plus être tout à fait pertinentes pour les romancières et romanciers nigérians qui, de par leur propre expérience en tant qu’individus, détaillent les nouvelles conditions de développement dans une société mondialisée, multiculturelle, ou transculturelle, où les frontières (géographiques, identitaires, génériques) tendent à s’estomper voire à disparaître. Nous proposons donc de nous interroger sur l’existence d’une spécificité nigériane du Bildungsroman en ce début de XXIè siècle. / Since the beginning of the 2000s, one of the distinctive features of Nigerian literature has been the use of the literary genre of the Bildungsroman . This thesis considers the different evolutions of this genre among male and female third-generation Nigerian novelists. It examines more than twenty novels, from Waiting for an Angel (2002) by Helon Habila to Freshwater (2018) by Akwaeke Emezi, thereby providing a picture of contemporary Nigerian fiction. This study aims at analysing contemporary Nigerian fiction through the genre of the Bildungsroman. By using gender theory, it considers the feminine variations on an androcentric genre. These feminine rewritings put forth the development (or lack thereof) of the heroines from an individual viewpoint as they try to build a unified self. The allegorical tendency of the traditional Bildungsroman is also central, and the History of the Nigerian nation, from the civil war (or Biafra war, 1967-1970), to the beginning of the 2000s, is at the heart of the plots woven by the novels chosen in the corpus: the Bildung of the protagonist parallels the Bildung of the nation. Finally, in the 21st century, national borders do not seem to hold any longer for the third-generation writers who, because they experience mobility themselves, describe the new conditions of development in a globalized society, which is increasingly multicultural or transcultural; borders (whether they be geographical, linked to identity, or generic) tend to fade away, or disappear. This thesis examines whether or not a Nigerian specificity of the Bildungsroman exists in the 21st century.

En réponse au traumatisme de la division nationale suscitée par la guerre civile et cristallisée pendant le franquisme, la figure d’Antigone resurgit avec force dans la dramaturgie espagnole. Le parcours de résistance de cette héroïne grecque devient, sous la plume des auteurs espagnols du XXème siècle, l’emblème de la « juste mémoire » (Ricœur, 2000). Partant de l’hypothèse que le corpus des Antigones espagnoles constitue un ensemble relevant d’une dynamique commune de relecture de l’histoire, cette thèse recherche, à travers un travail comparatif des structures et des symboliques, la cohérence des versions catalanes, galiciennes et castillanes, de l’exil comme de l’intérieur, pour la période comprise entre 1936 et 1989. Dix-huit pièces sont ainsi mises en perspective pour démontrer la conquête de discours mémoriels et compensatoires à partir des sources hypotextuelles que constituent la tragédie de Sophocle, mais aussi les autres versions théâtrales du mythe. La première partie examine les procédés de réécriture du mythe, de l’histoire et de la tragédie, pour qualifier les pièces et déterminer un éventuel noyau mythique ou un schéma référentiel récurrent. La notion de « (re)configurations contemporaines » au prisme du contexte politique émerge alors pour désigner les objets de ce travail. La deuxième partie analyse les convergences esthétiques et les motifs récurrents dans les textes, car les Antigones espagnoles contemporaines placent au centre de la scène la métaphore de la marge pour figurer l’exclusion politique, ou encore celle du chemin pour représenter les destins brisés et l’exil. Fondamentalement, ces œuvres forgent un tombeau littéraire pour les défunts oubliés, mais aussi un monument en l’honneur des invisibles. La dimension esthétique de cette place théâtrale compensatrice ouvre une réflexion sur son sens cathartique dans une société en recomposition pendant la Transition. En effet, le troisième volet de cette thèse est centré sur la théâtralisation de l’histoire : il s’agit d’étudier les dispositifs de déconstruction des récits nationaux à travers les différents réagencements du mythe des Labdacides. Cette clé de lecture révèle les stratégies de démythification-remythification qui président aux nouvelles charges sémantiques des épisodes mythiques, dépeignant un autoportrait déformant de la communauté espagnole en crise. À l’horizon de ces pratiques de réécriture, se lit la conception d’une époque historique comme une épopée, que la parole cérémonielle et le dispositif scénique peuvent contribuer à purger, par une distance qui englobe un large prisme, de la sacralité au grotesque. / Echoing the traumatic conflict within the nation caused by the Civil War and crystallized during Franco’s era, Antigone’s reappearance was extremely intense in Spanish dramatic creation. In contemporary rewritings, the resistance of this tragic character from Greek mythology turned out to be the emblem of a “fairer memory” (Ricoeur, 2000). This work asserts that the Spanish Antigones converge and share a common signification when it comes to rewriting History; and resorts to a comparative study of structures and symbols to shed light on the continuity between the Castilian, Catalan and Galician versions, between those written in exile or not, from 1936 to 1989. In order to establish the common dynamic, eighteen plays are compared, whose key idea is to create a memorial and a redeeming discourse based on the Greek sources but also inspired by other versions of the tragedy. Therefore, the first part examines the strategies implemented to rearrange the mythical pattern, the historical context and the tragic genre. This leads to the conclusion that there is no permanent mythical core nor a fully recurrent referential scheme. As such, the notion of “contemporary (re)configurations” through the prism of politics seems relevant to describe the rewritings. The second part analyses the aesthetic convergences and the recurring themes and metaphors throughout the texts and concludes that in the contemporary Spanish Antigones, the image of the margins embodying exclusion takes on centre stage while the image of the path is resorted to in order to evoke broken destinies and exile. Basically, these plays create a literary tomb for the forgotten deceased but also a monument in honour of the invisible –alive– ones. The aesthetic dimension of this compensatory play requires a reflection upon its cathartic sense in a transforming society during the Transition to democracy. Indeed, the third part of this work focuses on the dramatization of History, making it crucial to study the scenic devices that dismantle the official stories and political myths. This reveals the strategies of “demystification” followed by new mythifications that portray a distorting image of the Spanish community in crisis. Ultimately, these practices of rewriting show that the playwrights conceived their time as an epic and mythical phase which could be purged by theatrical ceremonial thanks to a distancing effect that covers a large prism, from sacred to grotesque.