Nos últimos anos, as escolas públicas de São Paulo observaram um crescimento significativo da presença de alunos imigrantes em sala de aula. Dados da Secretaria Estadual de Educação indicam que as matrículas aumentaram 18% em 2019, sendo o maior grupo o de estudantes bolivianos, com 5.022 matriculados. Considerando esse panorama, este estudo buscou avaliar os desafios linguísticos enfrentados pelo professor no ensino de língua portuguesa em salas de aula heterogêneas, isto é, formadas por brasileiros e imigrantes. Como recorte, definiram-se os estudantes com ascendência boliviana como protagonistas da pesquisa e realizou-se o acompanhamento das aulas de português do sexto ano do Ensino Fundamental II em uma escola situada no bairro do Brás (São Paulo/SP), local escolhido por concentrar indivíduos da comunidade boliviana (cf. SILVA, 2006; CYMBALISTA; XAVIER, 2007; FREITAS, 2012). Dessa forma, a partir da coleta de textos espontâneos de alunos com ascendência boliviana e brasileiros, estratégia de obtenção de dados consoante Cagliari (1990), as análises foram realizadas buscando os principais desafios ortográficos, com os objetivos de (i) identificar a natureza das dificuldades dos alunos protagonistas, relacionando os resultados com a produção dos estudantes brasileiros; (ii) verificar se a possível situação de contato constante com espanhol no convívio familiar resultava na manifestação de aspectos do espanhol na escrita em português; (iii) comparar as dificuldades de bolivianos e de filhos de bolivianos, averiguando se estes estudantes, ainda que brasileiros na nacionalidade, não enfrentavam desafios semelhantes aos dos imigrantes; e, por fim, (iv) propor atividades didáticas com base nas principais necessidades identificadas na análise, para auxiliar o professor de escola pública a conduzir o ensino da escrita em português em salas heterogêneas. De maneira geral, os resultados indicaram que bolivianos, filhos de bolivianos e brasileiros, dentro do grupo estudado, apresentam dificuldades parecidas, sendo a principal relacionada à diferenciação entre a modalidade falada e escrita da língua, já que na maioria das produções houve a representação de processos fonológicos do português, bem como outras dificuldades na escolha de grafemas motivadas, muitas vezes, pela pronúncia associada à concorrência entre letras. Ademais, estudantes bolivianos e filhos de bolivianos exibiram as mesmas dificuldades nas produções, relacionadas a processos fonológicos e à seleção de grafemas, com a adição de aspectos do espanhol inseridos na escrita em português. Finalmente, com base nesses resultados, foram propostas atividades didáticas focando nas diferenças entre a modalidade falada e escrita da língua e nas reflexões sobre uma situação real de preconceito associado à ortografia. Como principal conclusão, constatou-se que os alunos ascendência boliviana, ainda que inseridos em aulas que não trazem o ensino da língua específico para imigrantes, estão aprendendo efetivamente o português brasileiro na modalidade oral, já que transferem hipóteses pertinentes sobre a língua para a escrita. / In recent years, public schools in São Paulo have observed a significant increase in the presence of immigrant students in the classroom. Data from State Department of Education indicate that enrollments increased by 18% in 2019, being the largest group composed by Bolivian students, with 5022 enrollments. Considering this scenario, this study has evaluated the challenges faced by teachers during Portuguese classes in heterogeneous classrooms, i.e. formed by Brazilians and immigrants. As scope, students with Bolivian ancestry were defined as protagonists of the research and were monitored during the Portuguese classes of the sixth grade of Elementary School II in a school located in the district of Brás (São Paulo/SP), chosen due to the concentration of individuals from the Bolivian community (cf. SILVA, 2006; CYMBALISTA; XAVIER, 2007; FREITAS, 2012). In this way, from the spontaneous texts written by students of Bolivian and Brazilian ancestry, regarding the data collection strategy of Cagliari (1994), the analysis investigated their main orthographic challenges, with the objectives of (i) identifying the nature of the difficulties of the protagonists students, relating the results to the production of the Brazilian students; (ii) verifying if the possible situation of constant contact with Spanish in family life results in transfers from Spanish to Portuguese; (iii) comparing the difficulties of Bolivians and Brazilian-born children of Bolivian immigrants, investigating if these students face similar challenges; and finally, (iv) proposing didactic activities based on the main needs identified in the analysis, to help the public school teachers to lead the teaching of Portuguese writing in heterogeneous classrooms. In general, the results have indicated that Bolivians, Brazilian-born children of Bolivian immigrants and Brazilians, in the studied group, present similar difficulties, being the main one related to the differentiation between speech and writing, since in the majority of the productions there was the representation of Portuguese phonological processes, as well as other difficulties in choosing graphemes motivated, often, by the pronunciation associated to the competition of letters. In addition, Bolivian students and Brazilian-born children of Bolivian immigrants presented the same difficulties in the productions, related to phonological processes and the selection of graphemes, and also transfers from Spanish to Portuguese. Finally, based on these results, didactic activities were proposed focusing on the differences between speech and writing and in the reflections on a real situation of prejudice associated with orthography. As a main conclusion, it was verified that students of Bolivian ancestry, even if inserted in classes that do not bring the specific language teaching to immigrants, are effectively learning Brazilian Portuguese in the oral modality, since they transfer pertinent hypotheses on the language to writing.

Le présent travail portant sur la traduction française des œuvres roumaines d’Emil Cioran cherche à réévaluer ou à nuancer certains préjugés liés à l’écrivain ainsi qu’à la traduction littéraire. Nous entendons dépasser les généralisations réductrices, positives ou négatives, du genre : Emil Cioran, « le plus grand stylisticien du XXe siècle », Emil Cioran, l’aphoristicien ou bien l’insomniaque et le nihiliste, en analysant ponctuellement l’écriture cioranienne, notamment celle de jeunesse. Quant à la traduction, nous sommes encline à penser qu’il n’existe pas de « recette » prédéfinie applicable à chaque texte. Les traductions très différentes que nous analysons montrent que nous ne pouvons simplement pas choisir une théorie ou l’autre de la traduction et l’appliquer sans discernement et qu’en plus, ces théories, comme par exemple celle de la traduction cibliste et sourcière, de la forme ou du sens, prouvent désormais leur caractère historique. Loin de penser que la théorie et la pratique de la traduction sont deux choses séparées, nous entendons prouver que ce va-et-vient constant que nous réalisons entre théorie et pratique peut s’avérer très fructueux. L’objectif qui se dessine ainsi est double. D’une part, nous nous proposons de faire une analyse stylistique des œuvres de jeunesse d’Emil Cioran et de mettre en exergue les mutations qu’a subies l’écriture cioranienne de la période roumaine à la période française. Nous entendons montrer concrètement en quoi l’écriture a changé et comment cette analyse peut nous aider à mieux saisir l’œuvre de Cioran dans toute sa complexité et son glissement permanent. D’autre part, nous entendons faire une analyse de la traduction française des œuvres roumaines d’Emil Cioran. Cela nous donne également l’occasion d’étudier les différents facteurs influençant une traduction en accord avec une opinion, largement répandue depuis Henri Meschonnic, de l’historicité de toute traduction. Toute citation de Cioran est d’abord analysée du point de vue stylistique et toute de suite après du point de vue de la qualité de la traduction. Au niveau macroscopique, le travail est organisé en trois grandes parties. La première, « Figures typiques dans l’œuvre roumaine d’Emil Cioran », constitue une analyse des figures du discours récurrentes dans la première étape d’écriture cioranienne et de leur traduction. Ainsi allons-nous observer que la répétition joue un rôle déterminant dans la période roumaine et que la plupart des autres figures sont également sous-tendues par une forme ou autre de répétition : la paraphrase, la reformulation, la métabole, la gradation et ainsi de suite. Dans la deuxième partie, « Les images cioraniennes », nous nous intéressons à des unités de discours plus grandes, à savoir les images. Nous avançons non seulement vers l’analyse des passages plus amples, mais également vers des théories plus complexes du langage et du texte poétique. Nous dédions trois chapitres séparés à trois concepts clés pour notre analyse : l’ « image de la pensée », l’ekphrasis et la lamentation.La troisième partie, « Des images cioraniennes à l’image roumaine de Cioran », fonctionne comme une synthèse rassemblant et développant les conclusions des analyses précédentes. Loin de le situer définitivement dans la catégorie de grand « aphoristicien » (« un La Rochefoucauld du XXe siècle » « plus français que les Français » selon Pascale Casanova) ou dans celle opposée des nihilistes, cette étude s’est proposé de montrer un Cioran en quête permanente de nouvelles stratégies de compensation esthétiques aussi bien que rationnelles et cognitives et qui fournit, outre une analyse très complexe de nos émotions, une véritable étude de cas de notre manière de faire face aux affects à différents moments de notre vie. / In the present study, which analyzes the French translations of Emil Cioran’s Romanian work, we intend to reexamine and to nuance some of the most common preconceptions about both Cioran and translation. We intend to go beyond such reductive generalizations as “Emil Cioran the greatest stylistician of the 20th century”, the “Aphoristicien” or, on the contrary, “Emil Cioran the nihilist and the depressive writer”, by closely analyzing his early Romanian writing. As for the literary translation, we tend to believe that there is no perfect, predefined “recipe” that we can apply to every text. The different translations we analyze confirm that we cannot simply chose one theory or another and apply it indiscriminately; furthermore, these theories, as for example those having to do with source-oriented and target-oriented translation, now seem outmoded. Far from thinking that the theory and the practice of translation are two separate things, we consider that our study, alternating as it does between theory and practice, can prove to be very fruitful.Thus, a double-objective is taking shape. On the one hand, we plan to offer a stylistic analysis of Emil Cioran’s early works and to underline the ways in which his writing evolved between his Romanian and French periods. We intend to examine concretely what changes occurred and in what ways this analysis can help us have a better grasp of Cioran’s complex and shifting work.At the same time, we aim to do a comparative analysis of Cioran’s French translations. This gives us the opportunity to identify the factors influencing the translation process, in keeping with the widely held view associated with Henri Meschonnic, that translations age. The two goals followed simultaneously in our work are clearly visible at each level of the analysis: in the general structure of the thesis as well as in the organization of smaller divisions. Whenever we study a passage from Cioran’s work, we first examine the stylistic aspects of the original and in the next paragraph the quality of the translation. The present work is divided in three major parts. The first -- “Recurrent Figures of Speech in Emil Cioran’s Romanian Works” -- comprises a detailed analysis of the most representative figures of speech in the author’s first stage of writing and their translation. We learn from this that repetition, which plays an important role at this point in Cioran’s writing, underlies most of his other frequently used figures of speech: paraphrase, synonymy, gradation, etc. In the second part, “Cioran’s Images”, we analyze larger units of discourse. We move, not only from smaller units of discourse to larger ones, but also from simpler to more complex language and literary theories. We devote three chapters to three key concepts of our study: “thought images”, “ekphrasis” and “lamentations”. The third part, “From Cioran’s Images to Cioran’s Romanian Image”, plays the role of a synthesis that gathers and develops the conclusions of the preceding analysis. In the last chapter, we compare his Romanian and French books, and we underline the evolution of his writing, not only from the Romanian period to the French, but also from one book to another. Far from placing Emil Cioran in the category of “Aphorists” (“a twentieth-century La Rochefoucauld, more French than the French”, according to Pascale Casanova) or in the company of nihilists, this study wanted to reveal a writer who is always trying to find new compensations on the esthetic level as well as on the rational and cognitive levels and who offers, in addition to a very complex analysis of our emotions, a case study of the way we cope with different affects at different points in our life.

The Diploma thesis Organic composition in 20th century abstract Art, Music and Literature aims to explain the gradual process of liberalization of expressive means in Arts, Music and Literature during the 20th century. It describes the picture's emancipation from the dependence on objective reality, particularly V. Kandinsky's way towards abstract expressionism. In Music it traces A. Schonberg's development of the free atonality, and the stream of consciousness technique of J. Joyce in literature. The thesis' second part will be dealing with various manifestations of the organic composition after WWII- action and informal painting in the USA and Europe with its qualitative change. A musical and literal paralel to the principal of organic order will also be briefly introduced on the example of E. Brown's and J. Cage's aleatoric music and the spontaneous writing of J. Kerouac. Selected artistic personalities will be put into socio-cultural context of their time. As a result there comes a complex picture of the organic composition development process, suitable to be used as a source of information for teachers. The didactical part of the thesis will be focused on the possibility of using the given topic in the educational environment.