L'invention de l'imagerie médicéenne a accompagné la campagne politique initiée par Cosimo I, investi duc de Florence en 1537, puis duc de Sienne en 1559, et grand-duc de Toscane en 1570, pour établir une autorité dynastique à la tête d'un principat créé en 1530 par Charles Quint et enraciner un pouvoir autocratique pour ses héritiers. Les arts du textile, de l'ornement et de la joaillerie sont aux fondements de cette image du pouvoir médicéen. Dans un contexte économique et culturel où Florence était considérée, sur la scène internationale, comme un des principaux foyers de l'artisanat du luxe et de la création artistique, les Medici utilisèrent cette renommée à leur avantage. Ils se firent représenter en ambassadeurs de la culture florentine pour faire reconnaître leur identité et promouvoir leur légitimité auprès de la société de cour européenne. Simultanément, ils prirent des mesures financières et législatives en faveur de la modernisation industrielle de leur État, du déploiement européen du marché textile régional et de la fondation d'un centre international de l'artisanat d'exception. Le portrait du costume définit la représentation d'une esthétique originale, en lien avec ce contexte singulier, qui fut instrumentalisée pour afficher une image à la hauteur de telles ambitions. Grâce à cette vitrine du luxe florentin, traduite avec une plasticité minutieuse et une authenticité sidérante, les portraits témoignent d'une stratégie des apparences orchestrée pour répondre à un double objectif : ériger Florence en joyau de l'art de la Renaissance et exalter le prestige royal conquis par les grands-ducs de Toscane. / The creation of the Medicean portraiture has supported the political campaign started by Cosimo I, invested duke of Florence in 1537, then duke of Siena in 1559, and Grand Duke of Tuscany in 1570, to establish a dynastic authority on a princely state created by Charles V and to ensure the continued existence of an autocracy for his heirs. The arts of textile, ornament and jewellery are the pillars of this image of power. In an economic and cultural context where Florence was regarded as one of the major centers of luxury and artistic creation, the Medici used this world-renowned culture to their advantage. They became its ambassadors in order to have their identity recognized and to promote their legitimacy in the eyes of the European courtly society. At the same lime, they took financial and legislative measures to help the industrial modernization of their State, the European expansion of the Tuscan textile market and the foundation of an international and unparalleled center of the arts and crafts. The portrait du costume defines the representation of an original aesthetics, in connection with this singular context, which was mounted to realize such ambitions. With the exhibition of Florentine luxury, depicted with meticulous materiality and stunning authenticity, the portraits bear witness to a strategy of appearances staged to fulfill a double objective: enhance Florence as a jewel of Renaissance art and exalt the royal prestige conquered by the Grand Dukes of Tuscany.

Cette thèse conjugue l’étude du mythe de la métamorphose et du sentir amoureux, afin de mettre en relief les transformations produites sous l’incidence faste ou néfaste de l’éros. Apporter de nouveaux éclairages mythocritiques et proposer une approche novatrice du mythe érotomorphique à travers une analyse spectrale et fractale de ses composantes constituent nos objectifs essentiels. Les œuvres analysées appartiennent aux littératures française, anglaise, belge, argentine, roumaine et flamande, et s’inscrivent, à l’exception des contes portant sur le fiancé-animal, dans les XXe et XXIe siècles. La diversité du corpus permet d’adjoindre au fait comparatiste une ouverture du champ de la recherche à travers des traductions inédites et des œuvres qui entremêlent modernité et remotivation de la tradition mythique. Les chapitres de la thèse, Préliminaires à l’étude du mythe, Sublimations érotomorphiques, Un amour guérisseur, Entre Éros et Thanatos, Aliénations et révolutions érotomorphiques, présentent le mythe de l’érotomorphose contrôlée, involontaire ou transférentielle, comme une enveloppe verbale littéraire qui crypte la réalité amoureuse intérieure et extérieure de l’être, dans le but de révéler son véritable moi-peau. La métamorphose apparaît ainsi comme une autoreprésentation matérielle de l’ego sensorium. Accomplir cette érotogenèse revient à annuler la discontinuité corporelle qu’entraîne la transformation, en conférant au métamorphe un corps à la mesure de son idéal amoureux, à la fois moïque et physique. La transition permet de la sorte le passage de la dissociation à une parfaite consonance fractale entre l’infrastructure de l’âme et la suprastructure corporelle. / This thesis associates the study of the myth of metamorphosis and the analysis of the love faculty in order to emphasize transformations produced under the favourable or harmful incidence of eros. To cast a new light on mythocritical theories and to propose an innovative approach to the erotomorphic myth through a spectrum and a fractal analysis of its components constitute our essential objectives. The texts studied in this frame belong to French, English, Belgian, Argentinian, Romanian and Flemish literatures of the XXth and the XXIst centuries, with the exception of the fairy-tales about the animal bride. The diversity of this corpus permits to join comparative reasoning with an opening-up of the research field through original translations and literary works that intermingle modernity and remotivation of the mythic tradition. The chapters of the thesis, Preliminaries to the Study of Myth, Erotomorphic Sublimations, A Healing Love, Between Eros and Thanatos, Alienations and Erotomorphic Revolutions, present the myth of the controlled, involuntary or transferential erotomorphosis as a literary verbal envelope which encrypts the internal and external amorous reality of the human being, with the aim of revealing his true skin-ego. Metamorphosis thus appears like a material auto-representation of the ego sensorium. Accomplishing this erotogenesis means cancelling the corporal discontinuity involved in all transformations, by conferring to the metamorphe a body that matches his psychic and physical amorous ideal. The transition therefore allows passage from dissociation to a perfect fractal consonance between the corporal superstructure and the infrastructure of the heart.

This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

Les systèmes polygonaux à inclusions différentielles (SPDIs) sont des systèmes planaires non déterministes qui peuvent être représentés par des inclusions différentielles constantes par morceaux. Cette thèse porte sur les aspects théoriques et pratiques des SPDIs tels que le problème de l'atteignabilité et de la construction du portrait de phase. Nous montrons que le problème de l'atteignabilité est décidable pour les SPDIs. Notre procédure est basée sur le calcul des limites des trajectoires individuelles : l'idée sous-jacente est l'utilisation de fonctions de Poincaré unidimensionelles, pour lequelles on peut facilement calculer les points fixes et qui permettent dans la plupart des cas d'accélérer les cycles. Nous avons implanté cet algorithme d'atteignabilité dans l'outil SPeeDI. Ensuite, nous construisons le portrait de phase des SPDIs. Nous savons identifier les noyaux de viabilité des boucles simples. Il s'agit des ensembles de points initiaux de trajectoires restant dans la boucle. Nous introduisons la notion de noyau de controlabilité de boucles simples comme l'ensemble des points atteignables les uns à partir des autres par des trajectoires qui restent dans le noyau. Nous proposons un algorithme non itératif pour calculer ces deux noyaux, qui nous permet ensuite de construire le portrait de phase des SPDIs. Enfin, nous étudions la décidabilité du problème de l'atteignabilité pour d'autres classes de systèmes hybrides à deux dimensions : les systèmes hiérarchiques constants par morceaux (HPCDs) et les systèmes constants par morceaux, définis sur les surfaces. Nous montrons que le problème de l'atteignabilité pour ces deux classes de systèmes est équivalent à l'atteignabilité pour des systèmes affines par morceaux, dont la décidabilité est un problème ouvert. Nous montrons enfin que le problème de l'atteignabilité pour quelques extensions de HPCDs est indécidable.

The aim of this dissertation is to investigate the distinctive character and variations in the landscape portraits in Synkkä yksinpuhelu, by the Finnish author Olavi Paavolainen, as well as investigate the significance of the landscape portraits for the work as a whole. Paavolainen calls his work a war diary. It comprises the years 1939-1944 when Finland suffered first the Winter War (Russo-Finnish War) and then the Continuation War with the Soviet Union. The author served at the front during the first year of the Continuation War and then afterwards at general staff headquaters. In the first part of the work the author focuses on describing the Karelian landscape which had become the battlefield. The latter part brings out the war time political events in Finland and in other parts of the warring world. As a form, the diary gives the author possibilities to use texts with various styles and content. In general, Synkkä yksinpuhelu can be said to contain history, autobiography, political and cultural essays, landscape portraits and travel sketches. The landscape portraits assume a central position in the book because of the scope, about a third of the total pages. In these portraits a few of the main themes of the work are developed. At the same time these themes build an antithetical relationship: nature creates and preserves life while war annihilates it. A number of the portraits, for exemple, descriptions of the moon and burial places, are a recurrent motif, giving the text structure and strengthening the theme of impermanence. In an exteded sense, Paavolainen's own concept of the thinking landscape can be used to characterize his portraits because the surrounding landscapes communicate his own moods and thoughts. This manner of describing nature ties together schools of art, such as romanticism, symbolism, expressionism and surrealism, where it is characteristic to allow the outer world to reflect the inner state of the soul. Paavolainen makes numerous references to works, authors and artists from the 19th and 20th centuries in his portraits. Using means such as irony and antithesis and with a sprinkling of ambivalence, the intertextual and interartistic relations illuminate the author's attitudes towards prevailing conditions. They also accentuate his thoughts about the purpose of existence.

Montrer le monde, est-ce montrer le "siècle", le temps, cet " incorporel " selon les stoïciens pour lesquels le terme est plutôt péjoratif, cette forme dégradée de l'éternité selon les platoniciens ? La présence du temps, linéaire, fleuve ou immobile, oblitère-t-elle intimement le paysage classique soit, selon Philippe Descola, " de Patinir à Lorrain " ? Une réflexion sur le temps n'y serait-elle pas tout aussi présente qu'une tentative, rarement revendiquée, de représentation de la " nature ", notion encore ambiguë sous la Renaissance (autant les choses elles-mêmes que leur essence, voir leur principe actif), " terme vague " plus tard encore pour l'Encyclopédie. Y a-t-il un paradoxe du paysage ? Ce genre pictural est apparu concomitamment à la fin des millénarismes et à la " sécularisation ", soit dans un contexte d'évolution radicale et complexe du rapport au temps qu'il soit symbolique, politique, historique, économique, technique ou autre, phénomène abondamment étudié par l'histoire, notamment culturelle, mais aussi l'économie, la sociologie, la théologie... Parallèlement aux deux autres grands genres, le portrait avec les âges de la vie et leur psychologie, ou la nature " morte " avec l'intention morale de ses " vanités ", il en méditerait la dimension métaphysique, l'indétermination de la notion de nature s'avérant sans doute faire système avec celle de la notion de temps. Dans cette thèse, la première à être consacrée en France à ce peintre, ces hypothèses sont abordées à partir de l'œuvre de l'anversois Joachim Patinir (~1484 - ~1524), créateur du paysage cosmique (" weltlandschaft "), premier peintre occidental reconnu comme " peintre de paysage " (Dürer : " Joachim Patinir, der gut landschaft malher "), même si, bien entendu, le paysage est depuis longtemps présent dans la peinture et l'ensemble des arts occidentaux, comme en Orient, mais non d'abord pour lui-même. A ce titre, entre autres éléments iconographiques spécifiques (dont une iconologie juive encore à approfondir) il est le peintre des grands " lointains ", terme que, ainsi que tant d'autres, le lexique de l'espace partage justement avec celui du temps. A l'autre extrêmité du cycle, sont également sollicités Poussin et Lorrain, pères du paysage héroïque ou, autre référence néoplatonicienne, " idéal ", et qui achèvent de donner à ce genre ses lettres de noblesse.

Nous nous proposons de suivre l’histoire du portrait littéraire et la place de Molière en tant que portraitiste dans deux de ses piè ces les plus célèbres, Le Tartuffe et Le Misanthrope. Molière déplace l’intérêt de l’action dans ses comédies vers les portraits des personnages. S’appuyant sur les principes des Anciens : « castigat ridendo mores », Molière rév èle à travers les portraits, les vices, surtout l’hypocrisie, et l’importance du masque dans la société du XVIIe siècle. La grande varié ;té des portraits sera illustrée de nombreux exemples. Nous nous intéressons aux diverses fonctions des portraits. Ils dévoilent l’intérêt pour le réalisme psychologique et témoignent d’une mode de divertissement mondain. En mettant l’accent sur les défauts et le ridicule des personnages, avec les portraits, les pièces se chargent d’une dimension satirique.

In the present study, mediating effects of parenting dimensions between parent values and parent-child value similarity were examined along with the relationships between values, value priorities, parent-child value similarity, and self-evaluations. In the first study, Portrait Values Questionnaire (Schwartz, et al., 2001) was adapted to Turkish in a university sample, and its construct validity was investigated together with its psychometric qualities. In the second study, in both high-school and university samples, hypothesized relationships and mediation models were tested in, in which the mothers, fathers, and students served as the participants. Results indicated that value priorities of parents were systematically related to parenting dimensions. Parental acceptance mediated the relationship between parents&rsquo / Self- Transcendence values and parent-child value similarity, and parental control mediated the relationship between parents&rsquo / Self-Enhancement values and parentchild value similarity in both samples. Moderations effects were obtained in the university sample. Mothers&rsquo / socialization goals moderated the relationship between maternal control and mother-child value similarity in the Conservation domain. In addition, perceived importance of Self-Transcendence and Conservation values moderated the relationships between fathers&rsquo / parenting dimensions and father-child value similarity within the same domains. Value priorities were also found to be systematically related to self-esteem in the university sample per se, whereas relationships between parental congruence on value priorities, self-concept clarity and self-esteem were not significant. Results were discussed with reference to relevant literature together with implications and the limitations of the study. Contributions to current socialization research were elaborated and future research directions were highlighted.

This study examined the interplay between parenting behaviors and self-regulatory focus in a sample of 320 university freshmen. Considering the theoretical assumptions and cultural differences, it is expected that specific parenting behaviors predict prevention and/or promotion self-regulatory focus. Especially, the dimensions of parental psychological control were expected to predict prevention focus. Participants completed multiple measures of parenting behaviors and self-regulatory focus. Self-regulatory focus was measured using both direct and indirect measures (i.e., value domains) considering the theoretical formulations underlying the indirect measures. The measures of specific parenting behaviors included parental support, behavioral control, psychological control, and overprotection. Results suggested that psychological control mainly predicts prevention focus. Whereas parental blaming and love withdrawal predicted prevention focus, guilt induction predicted promotion focus under certain conditions. Besides, parental overprotection was related with higher levels of both promotion and prevention self-regulatory focuses. As expected, parental behavioral control was associated with lower levels of prevention focus and parental support was associated with higher levels of promotion focus. Examination of the relationships between both types of self-regulatory focuses and the subscales of indirect measure comprised of value domains yielded results contradictory to the original formulations. For instance, contrary to the theoretical expectations, value domain of security was strongly associated with promotion focus rather than prevention focus, signifying a potential cultural difference. Finally, results have suggested that direct and indirect measures of self-regulatory focuses do not consistently overlap and they may measure different constructs. Results were discussed on the basis of the previous work in this area and further exploration was suggested to clarify the link between direct and indirect measures of self-regulatory focus and their links to parenting behaviors.

This study of James Joyce's transmodal techniques explores, first, Joyce's implementation of non-language based media into his works and, second, how digital technologies might assist in identifying and studying these implementations. The first chapter introduces the technique of re-rendering, the artistic practice of drawing out certain characteristics of one medium and, by then depicting those characteristics in a new medium, calling attention to both media and their limitations and potentials. Re-rendering can be content-based or form-based. Joyce employs content-based re-rendering when he alludes to a piece of art in another medium and form-based re-rendering when he superimposes the form of another medium onto his text. The second chapter explores Dubliners as a panoramic catalog of the various aspects involved in re-rendering media. The collection of stories, or the fragmented novel, shows synaesthetic characters, characters engaged in repetition and revision, and characters translating art across media by superimposing the forms, materials, and conventions of one medium onto another. Dubliners culminates in the use of coda, a musical structure that commonly finalizes a multi-movement work. The third chapter analyzes of A Portrait of the artist as a young man, focusing on its protagonist who exhibits synaesthetic qualities and a penchant for repeating phrases. With each repetition he also revises, a practice that foreshadows the form-based re-rendering Joyce employs in Ulysses and Finnegans Wake. The fourth chapter explores the "Sirens" episode of Ulysses. In this episode, Joyce isolates the structure of the musical medium and transfers it to a literary medium. This technique shows his advanced exploration of the effects of one artistic medium on another and exemplifies his innovative technique of re-rendering art forms. Finally, the fifth chapter explores how we might use digital technologies to visualize Joyce's techniques of re-rendering. Based on these visualizations, we might identify further connections Joyce makes across his works. / text