Cette thèse examine le rapport stylistique et esthétique entre l'original et la traduction : l'écrivain et le traducteur écrivent chacun leur version de l'œuvre, l'une auctoriale, l'autre allographe. Le terme « auctorial » peut donc aussi s'appliquer au traducteur, auteur de la traduction et juridiquement reconnu comme tel. En partant du principe qu'à la lecture, un auteur peut s'identifier à son style d'écriture, il s'agit de montrer en quoi le traducteur a un style propre se démarquant de celui de l'auteur de l'original, en termes de créativité et de faits de style. Cela posé, il restera à déterminer dans quelle mesure l'un ou l'autre de ces deux auteurs, par son style, s'approprie l'œuvre, autrement dit, à qui revient l'autorité en ce qui concerne l'œuvre, en prenant en compte l'action des autres parties prenantes dans l'écriture, comme l'éditeur et même le lecteur : on verra ainsi que l'autorité est une variable. On peut dire que l'écrivain et le traducteur entreprennent une coopération, au sens étymologique, pour l'écriture de l'œuvre. Pour identifier le style d'un traducteur, on s'intéressera au style qu'un même écrivain développe dans différentes productions, et à celui qu'un même traducteur utilise dans différentes traductions. On essaiera d'en déduire quelle évolution stylistique a lieu d'une production à une autre, et d'une traduction à une autre. À la suite de ces analyses, on cherchera à en tirer des enseignements sur l'apprentissage du style en traduction, dans le cadre de la co-écriture de l'œuvre. Cela nous mènera à une réflexion sur la perception subjective de « fautes » de style dans la traduction et sur l'impossibilité d'une version « définitive » de l'œuvre. / This thesis is about style in translation and its implications for both authoriality and authority. It examines the stylistic and esthetic relationship between the original text and its translation: the writer and the translator write different versions of the literary work; one is authorial, the other is allographic, in the etymological sense of the term. The term "authorial" may actually also refer to the translator as the author of the translation, recognized as such by French copyright law. On the assumption that the reader will identify an author by their writing style, the goal is to show in what way the translator's own style sets off from the original author's in terms of creativity and stylistic features. Then we will aim to determine to what extent either of these two authors can stylistically claim the literary work; in other words, which of these two authors has the authority related to the literary work, taking into account those involved in the writing process, such as the editor or even the reader: we will see that the authority is a variable. The writer and the translator can be said to undertake cooperation for the writing of the literary work. In order to identify the style of the translator, the focus will be placed on the style a writer develops in various productions and on the style a translator uses in various translations. We will also try to infer what stylistic evolution takes place from one production to another and from one translation to another. Following those analyses we will seek ways to develop one's writing style in translation in the context of the co-writing of the literary work. This will lead us to reflect on the subjective perception of stylistic "flaws" in the translation and on the impossibility of a "definitive" version of the literary work.

This study examines rhythm, syntax, sound, and diction in selected early and late poems from Dylan Thomas's Collected Poems. It demonstrates, on the basis of stylistic evidence, that the later poetry is the greater achievement. The early and later poems are different in the area of rhythm. Early poems are regularly metered with a strong iambic beat, and a majority of lines are end-stopped. Rhythms in the later, finer poems are irregular, and enjambed lines predominate. The later poems show an increased ability to match rhythm with meaning. Dylan Thomas's syntax is simpler on the surface than ordinarily supposed. Early poems contain restrictive relative clauses that result in complex deep structure and sentence stacking. The later poems contain appositive relative clauses, a change in style that results in greater clarity. Repetitive patterning is frequent during both poetic periods. Thomas shows his greatest virtuosity in the area of sound. Many techniques are common to both periods, but his achievement in making sound functional in the later poetry gives it greater dimension. In creating his unique poetic voice, Dylan Thomas uses both old and new devices. Common and uncommon rhetorical figures abound in both periods, but, in common with the other stylistic elements, the figures are used more effectively in the later poetry. On the basis of an examination of the stylistic elements of rhythm, syntax, sound, and diction, this study demonstrates a greater level of achievement in the last poems of Dylan Thomas.

To create a much-needed program for training novice and volunteer English teachers, Dr. Lynn Henrichsen put together a team of interested TESOL graduate students who developed materials and resources for this purpose. Under his supervision and mentorship, each student helped with the development of units for a website and book titled, Basic Training and Resources for Teaching English to Speakers of Other Languages (BTRTESOL). Recognizing the target audience as novice teachers with little or no training in teaching English as a second language, each graduate student approached the development of each unit for this BTRTESOL program with this in mind. These untrained teachers are filling the gap that exists in areas of the world that are in need of well trained, certified TESOL teachers but lack resources because of poverty and the large quantity of students wanting to learn English. Owing to the great demand for English skills and the lack of trained teachers, there is a great need for the resources that this program and project provide. My part in this program included the design and development of two units, "Teaching Styles and Cultural Differences" and "Understanding Students' Learning Styles." These two units seek to help novice teachers understand teaching styles, learning styles, the role of culture, and the cultural mismatches that may exist between a teacher's style of teaching and a student's style of learning. These training units help novice teachers learn how to identify, teach, and expand students' learning styles in order to help them improve students' learning. Additionally, the units include information directing users to other resources for more information on these topics.

Digitized by Kansas Correctional Industries

This thesis aims to understand visual style in the context of computer science, using traditionally intangible artistic properties to enhance existing content manipulation algorithms and develop new content creation methods. The developed algorithms can be used to apply extracted properties to other drawings automatically; transfer a selected style; categorise images based upon perceived style; build 3D models using style features from concept artwork; and other style-based actions that change our perception of an object without changing our ability to recognise it. The research in this thesis aims to provide the style manipulation abilities that are missing from modern digital art creation pipelines.

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