Orientador: Edwiges Maria Morato / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T20:08:49Z (GMT). No. of bitstreams: 1 Mira_CaioCesarCostaRibeiro_D.pdf: 2174929 bytes, checksum: b13b3e7ca1c450942b7dc7a7a02801c4 (MD5) Previous issue date: 2012 / Resumo: As práticas interativas do Centro de Convivência dos Afásicos (doravante, CCA) constituem um locus bastante interessante para análise da relação entre linguagem, cognição e vida social. O CCA, que funciona no Instituto de Estudos da Linguagem da UNICAMP, é um espaço de interação entre afásicos e não afásicos que procura, metodologicamente, evocar em encontros semanais rotinas significativas de vida em sociedade, o que envolve variados processos de significação (verbais e não verbais) e diversas práticas com linguagem, que mobilizam recursos pragmáticos, textuais e discursivos (Morato et al., 2002). Diante da configuração social CCA e a partir do arcabouço teórico-metodológico da Análise da Conversação e dos estudos brasileiros no campo da Linguística Textual, esta pesquisa tem por objetivo analisar episódios interacionais que envolvem sujeitos afásicos e não afásicos, por meio de duas categorias que sustentam a estrutura e a gestão da conversação: o turno conversacional e o tópico discursivo. Este trabalho parte da seguinte hipótese: poderíamos dizer que sujeitos afásicos não deixam de ser competentes do ponto de vista pragmático? Poderia a análise textual-interativa demonstrar que sujeitos afásicos possuiriam uma capacidade de reconhecer as formas de inserção, sobreposição e tomadas dos turnos conversacionais para participarem do desenvolvimento de um do tópico em situações conversacionais? Poderia essa análise demonstrar que afásicos podem ser capazes de reconhecer as especificidades das dinâmicas de turnos e das formas do desenvolvimento do tópico demandadas pelas situações conversacionais ocorridas no CCA? Para tratar de questões como essas, consideramos que a análise interpretativa das práticas linguísticas dos sujeitos afásicos contribui para a compreensão da inserção e da participação dos sujeitos afásicos nas práticas cotidianas, algo que passa largamente pela linguagem ou pelos seus contextos de uso. Também por essas práticas podemos compreender melhor como o afásico procura se inserir nas mais diversas atividades sociais e assim contribuir para o incremento de ações inclusivas e para a diminuição do isolamento social que geralmente ocorre em função da incompreensão das especificidades dos déficits linguísticos nas situações concretas de uso da linguagem. Os resultados de nossas análises demonstram que os afásicos não perdem necessariamente a competência pragmática ou textual interativa. Tanto aspectos estruturais, quanto funcionais da linguagem em uso permitem o enfrentamento criativo de dificuldades impostas pelas dificuldades características dos quadros afásicos. Assim, de forma intersubjetiva, multimodal e cooperativa, afásicos se tornam capazes de interagir nas situações conversacionais, manipulando de forma adequada em relação aos seus propósitos comunicacionais, engajando-se na dinâmica de turnos conversacionais e contribuindo para o desenvolvimento do tópico. Nossos achados demonstram que afásicos reconhecem a configuração textual-interativa da conversação, manifestada pela movimentação do tópico, das formas de participação dos enquadres interativos e pelas dinâmicas de turno. A afasia, e também a análise desse fenômeno neurolinguístico, não se reduz, pois, ao que acontece ao nível do sistema linguístico stricto sensu ou tomado em si mesmo / Abstract: The interactive practices of the Aphasic Social Centre (henceforth, CCA) are a very interesting locus to analyze the relationship between language, cognition and social life. The CCA, located at the Language Studies Institute at UNICAMP, is a place for interaction between aphasics and non-aphasics that tries to evoke methodologically, in weekly meetings, the routine of life in society. Those practices involve various processes of meaning (verbal and non-verbal language) that mobilizes pragmatic, textual, and discursive resources (Morato et al, 2002). Given the social configuration of the CCA and the theoretical-methodological conversation analysis as well as the text-interactive approach of the field of Brazilian studies on Textual Linguistics, this research aims to analyze three interactional episodes involving non-aphasic and aphasic subjects through two categories that sustain the conversation: the topic of discourse and conversational turn. This work is based in the following hypothesis: could we say that aphasic subjects are nonetheless competent according to the pragmatic point of view? Could textual and interactive analysis show that aphasic subjects possess an ability to recognize forms of integration, overlap and shifts taken from conversational to participate in the development of a topic in a conversational situation? Could this analysis demonstrate that aphasics may be able to recognize the specificities of dynamic shifts and shape the development of a conversational topic demanded by the situation that occurred in the CCA? We believe that the interpretative analysis of the language practices of aphasic subjects contributes to the understanding of inclusion and the participation of them in daily practices, something that goes largely by language or by their contexts of use. Also, according to those practices, we can better understand how the aphasics can participate in various social activities and thus contribute to the growth of inclusive actions to reduce the social isolation that often occurs due to the misunderstanding of the specific deficits of language in concrete use of language situations. The results of our analysis show that aphasics do not necessarily lose the pragmatic or textual interaction competence. Both structural and functional use of language allows communicative creative strategies imposed by the difficulties of aphasic subjects. Thus, in intersubjective and cooperative multimodal ways aphasics become able to interact in conversational situations, manipulating appropriately in relation to their communicative purposes, engaging in the dynamics of conversational turns and contributing to the development of the topic. Our findings demonstrate that aphasics recognize the configuration of interactive text-chat, as manifested by moving the topic of forms of participation frameworks for interactive and dynamic shifts. Therefore, Aphasia, and also the analysis of this neurolinguistics phenomenon, is not reduced to what happens at the level of the linguistic system stricto sensu / Doutorado / Linguistica / Doutor em Linguística

Topic sentence writing is an important component of academic writing. Through studying topic sentences in Chinese students’ English essays, this research aims to find out the frequency and the placement of topic sentences, the wording within topic sentences and the relationship between topic sentences and paragraph unity. In this research, 45 English essays written by Chinese students were collected from WECCL corpus and targeted topic sentences were selected out afterwards. Depending on Wordsmith 3.0, results related to topic sentences were generated including the frequency, the placement, the wording of topic sentences and the unity between topic sentences and supporting sentences. Results show that Chinese students have a good awareness of writing topic sentences and placing them at the beginning of paragraphs. However, Chinese students are not good at applying transitional phrases and expressing ideas objectively as academic writing requires. Moreover, paragraph unity in some Chinese students’ essays is poor. In addition, as a part of this empirical study, an interview about how to write topic sentences was conducted among ten Chinese students majoring in English in order to verify the results. Based on the responses from the interview and previous research, this research suggests that Chinese rhetoric convention and school instruction on writing are two major factors leading to the present results.

Au cours des dernières années, de nouveaux challenges ont émergé avec la transformation très significative du paysage audiovisuel due à l'émergence de la télévision sur Internet. La décision de ce qui est regardé et dans quel ordre n'appartient en effet plus à la chaîne TV concernée mais à l'utilisateur. De nouveaux moyens facilitant l'accès précis et rapide à l'information souhaitée au sein des quantités toujours croissantes de contenus audiovisuels doivent donc être proposés aux utilisateurs : par exemple, pour repérer un événement spécifique, un fragment d'émission contenant une certaine personnalité ou abordant un sujet particulier, voire pour naviguer successivement entre tous les segments de vidéos abordant ce sujet. Ces fonctionnalités nouvelles et variées impliquent le développement de méthodes novatrices de structuration et d'exploitation des contenus audiovisuels, sujet abordé dans cette thèse. Nous proposons d'une part des techniques automatiques de structuration thématique des données audiovisuelles permettant de révéler l'organisation interne de chaque programme. Nous étudions également les implications de la structure produite sur diverses tâches telles que la création d'hyperliens entre vidéos (afin de permettre une navigation entre fragments d'émissions thématiquement proches) ou la création de résumés automatiques. L'ensemble des travaux menés est effectué sur les transcriptions automatiques de la parole prononcée dans les émissions, afin d'obtenir des solutions génériques, non dédiées à un type de programme particulier. / New challenges emerged in the past years as the audiovisual landscape significantly transformed with the emergence of Internet-based TV. The decision of what to watch and in what order no longer belongs to the TV station but the user. New solutions must be offered to users in order to facilitate precise and quick access to the desired information contained in the ever increasing amounts of audiovisual content: for example, to identify a specific event, a TV show fragment containing a certain public person or addressing a particular topic, or to browse sequentially across all segments of videos addressing this topic. These new and varied features imply the development of innovative methods for structuring and exploiting the audiovisual content, which represent the focus of this thesis. We offer automatic topic structuring techniques of audiovisual data to reveal the internal organization of each program. We also study the implications of the structure produced on various tasks such as creating hyperlinks between videos (to allow navigation between TV show fragments that are thematically related) or creating automatic summaries. All the work is carried out on automatic transcripts of the speech pronounced in TV shows, to achieve generic solutions, not dedicated to a particular kind of show.

This dissertation analyses Lukas Motšheletšhele, the first novel written by M.M. Rammala, who also wrote Rangwane ke go Paletše (1971) and Mabosebosane (s.a.). Lukas Motšheletšhele is a tragic novel. M.O. Dona (1994) and P.S. Groenewald (1995) have already analysed this text, but these scholars did not discuss the content, plot and style of the text. Dona focused on feminism and Groenewald on characterisation and genre. Therefore the main objective of this study is to investigate two levels, content and plot, of Lukas Motšheletšhele. This investigation uses a narratological method, involving the two phases of definition of terms and interpretation of concepts. These processes clarified the problems to be addressed in the study. Literary works are found to have three layers, namely content, plot and style. This dissertation only discusses the first two layers; style is explained but not discussed. Regarding content, topic is an important concept, emphasised in this study, because it creates a coherent link between characters, events, time and place. Regarding plot, the important concept to be highlighted is theme, which links the events of the plot. Theme focuses the message of the text and creates suspense in readers. The theme of Lukas Motšheletšhele is discrimination by a parent in the family. Evangelist Motšheletšhele favours his last son more than his other children. Four other important concepts, namely actions, characters, place and time are also discussed. Characters are grouped into two categories, namely major and minor characters. The major characters are then divided into two groups, kind persons and bad persons. In Lukas Motšheletšhele, the kind-hearted person is the well behaved Onika, and quarrelsome person is Evangelist Motšheletšhele, who opposes Onika’s kindness. These characters are described according to their intention, patronage, resistance, assistance and success. In the novel, factors that assist Evangelist Motšheletšhele resist Onika, and vice versa. Another important aspect of plot is design, which has several facets. For example, some aspects of plot design are important for developing the theme, others show the general behaviour of the antagonist and protagonist, and others identify the genre of the literary work. Lukas Motšheletšhele can be classified as a tragedy. In the denouement, the hero, Evangelist Motšheletšhele, falls from his high position of social status and respect and dies due to his false deeds, which is the classic structure of a tragic plot. The plot is discussed in four stages, namely exposition, development, climax and denouement. How the author displays the characters, events, time and place to reveal his aim is also discussed. The concept of technique is thoroughly explained, and examples given from the novel. Particularly, the 14 techniques used to characterize the protagonist, Evangelist Motšheletšhele, are discussed. These techniques are used to disclose his high status and weaknesses, which relate to his bad behaviour. Onika as antagonist is also discussed in terms of the 12 techniques used to reveal her high status, virtue and lack of weakness. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

Ranamane (in Gerard 1993: 177) describes L. D Raditladi as one of the first Setswana writers of importance, a dedicated conservationist and enthusiastic developer of the Setswana language whose works have won considerable acclaim. Raditladi is well known as a prolific dramatist, novelist and poet, and as the translator of Shakespeare’s Macbeth into Setswana. He also wrote for both the Naledi ya Batswana newspaper and Kutlwano magazine (Boikutso 1985: 17). Shole (1988:97) speaks of Raditladi as the first dramatist to write history in Setswana, explaining that Raditladi drew inspiration from the historical dramas of Shakespeare. According to Gerard (1981), Boikhutso (1985) and Ranamane et al. (1986) the quality of Raditladi’s writing was widely recognised during his lifetime. He won numerous prices in for example, the IAI, the May Esther Bedford and the library competitions. In addition he received a monetary grant for the South African Publishing Company became of the exceptional quality of his writing. A representative example of Raditladi’s work is his drama Dintshontsho tsa Lorato, published in (1957). A survey of the literature reveals that his drama has already been investigated, by Ranamane (1986) Shole (1988) and Malimbe (1994). However Malimbe confines her investigation to the plot, and Ranamane and Shole theirs to the plot and style of the drama. Thus, no critic has previously examined the content of Dintshontsho tsa Lorato. The chief aim of this investigation is thus to critically analyse the structure of the drama Dintshontsho tsa Lorato at the level of content and plot, using two research methods, namely definition and interpretation, within the context of the adapted narratological model. This model conceives of a text according to three levels, namely content, plot and style, and focuses on the topic of the content, the theme of the plot and the atmosphere of the style. Thus this research study differs from the three previous investigation of Dintshontsho tsa lorato because it focuses on the content level of the text by examining the topic, and the plot level by analysing the theme. The content of a text is coordinated by the topic to form a unified entity. The topic of the drama we are investigating is reflected in its title, namely Dintshontsho tsa Lorato. The topic is thus of vital importance, and determines the arrangement and presentation of four important elements of content, namely character, time, place and events. These four elements are examined in more detail. The characters of the drama can be grouped into two categories, namely kind-hearted persons (e.g. Mmamotia) and quarrelsome persons (e.g. Sakoma). Mmamotia the antagonist, opposes the hero, Sakoma, who tries to force her to marry him against her will. These two characters are investigated using the concepts of intention, patronage, resistance, assistance and success. Time and place together fall under setting. Setting can be defined as the natural and artificial environment in which characters in literature live and move (Roberts 1982: 1). Time is the period in which the events of the plot happen, and the order in which they happen. This can be expressed in various units, for example a day, month or year. Place denotes the geographical and topological position in which the characters in the story are situated and the events of the plot take place. Bal (1985:8) regards the place within which the characters find themselves as the ‘frame’. The last of the four elements, the events, together make up the plot of the drama, which Strachan (1988: 20) and Magapa (1997) describe as the second level of the text. Here theme is key. Theme is the message the writer actually intends to give to the audience. The theme of the drama Dintshontsho tsa Lorato centres on dishonesty and unfaithfulness. The conflict begins when Sakoma is unable to marry Mmamotia because he is a foreigner in the Bangwato tribe, whose cultural beliefs forbid intermarriage. The plot is examined by focussing on the special functions in the plot of the protagonist Sakoma and the antagonist Mmamotia, and the events related to them are classified as representing either good or evil. The study of Dintshontsho tsa Lorato not only reveals how Raditladi creates his characters but also how he selects and shapes them for the purpose of dramatizing human life with all its varied manifestations. The action that takes place reveal essential character traits of the various characters, and do the words of the characters around them. For instance, Sakoma describes himself as a brave man who will not take no for an answer, and other characters describe Mmamotia as an extraordinarily beautiful woman who is extremely attractive to men. The plot is them examined according to the conflicts that occur in its various stages, namely the exposition, the development, the climax and the denouement. There are eleven distict conflicts that can be identified occurring between characters in he events of the plot. The event of Raditladi using two techniques, namely song and rhetorical questions, presents the events of the exposition, which form the first conflict that sets the plot going. In the development, several other techniques are used to show the conflicting forces of character and events and to emphasize message of the drama. The second, fourth and eleventh conflicts are discussed in detail because they involve the protagonist and the intagonist. (The other conflicts, which are between other characters, can be described as weak, and are not examined in great detail, though they are vital for creating suspense). In the climax phase the technique of dialog is examined, particularly in the conflict between the protagonist and the helper. The denouement phase has no conflict. Here Raditladi uses one important technique, namely monologue, to streangthen the presentation of the theme of Dintshontsho tsa Lorato. Overall, the most frequently used techniques are dialogue, monologue, point of view, repetition, foereshadowing, rhetorical questions and are the inactive mood. This drama can be classified as a tragedy, because its ending is sad, since the three main characters die. Using this tragic ending Raditladi tries to caution his audience against dishonesty and unfaithfulness. Thus it is the theme that holds the audience to the end of the drama. / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / MA / unrestricted

Maditsi is one of the most significant authors in Sepedi literature. He has written various texts, including poetry, short stories and a novelette. He won the first award of the Samuel E Mqhayi prize awarded by the Suid -Afrikaanse Akademie vir Wetenskap en Kuns in 1971, with his poetry book Monamolomo bolela monatsebe o tlo go kwa. His exceptional writing proficiency have been recognised by a scholar such as Thobakgale (1996: 6), who writes: (Maditsi) could be called the leading author of the development of Sepedi short stories, because his short stories, namely Mogologolo (1970), Monyane (1974) and Dipheko (1985) are of high standard as compared to the initial ones as they have raised the standard of Sepedi short stories. The aim of this dissertation is to analyse Maditsi’ s short story ‘Pheko ya pula’ from the anthology Dipheko, as a traditional short story, with special reference to two levels, namely content and plot. When analysing ‘Pheko ya pula’, two strategies have been chosen, namely ‘to define’and ‘to intepret’. The reason is because in this research there are terms such as journey, patronage, etc, that require definition, as well as ideas (characters, events, design, title, theme, topic, technique, conflict and others) that require interpretation and are related to the topic. Furthermore, the model used in this investigation was the adapted narratological model developed by Groenewald (1993) and Mojalefa (1997). This model differ from older models developed by narratologists such as Genette (1980) and Strachan (1988), because it emphasizes that when one discusses content, topic is important. When plot structure is examined, theme is highlighted, and when style is investigated, atmosphere plays a very important role. With regard to the content level, it was revealed that content consists of four elements, namely characters, events, time and place. Furthermore, it was also discovered that characters are subdivided into two categories, namely main and minor characters. These major characters are kind- hearted person and quarrelsome person and they are described according to the following index: intention, patronage, resistance, assistance and patronised. In the short story ‘Pheko ya pula’, the kind-hearted person is Potego, while the quarrelsome person is Mathoma, because he opposes Potego’s kindness. If this text is read and studied intensively the reader realises that the assistance of the quarrelsome person, Mathoma is the resistance of the kind-hearted person, Potego, and vice versa. Events can be classified into two categories, namely essential and other events. The essential events are further subdivided into three categories, namely first, middle and last events. The concept of time at the content level is explained in terms of three categories, namely narratological time, historical time and indefinite time. Place is divided into two categories: the physical place where events occur and indefinite place. In analysing plot structure, three elements are important, namely theme, design and title, because theme links the events of the plot of ‘Pheko ya pula’. Title plays a significant role in distinguishing the name of the literary text and design identifies the type of literary work. Four phases of plot, namely exposition, development, climax and denouement, have also been examined as pillars of the literary text. In the exposition phase, the first conflict (local witchdoctors refused to find the rain charm for the Puding community) is discussed in terms of the following techniques: contrast, foreshadowing, naming, focus, repetition and others. Sequence of events, flashback, symbol and other techniques were used in the development. In the climax, the author used cycle, repetition and other techniques, while in the denouement he used flashback and foreshadowing. In conclusion, this research has also examined the way Maditsi has used the journey as a technique in Sepedi literature, because ‘Pheko ya pula’ is based on a journey from the beginning to the end. The author has used this important technique with consummate skill. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

In this dissertation Lebopa' s two short stories entitled Ntlo ya monna yo mongwe and Bomahlwabadibona are compared with each other. Groenewald is the first person to have pointed out the importance of these two detective short stories. By doing this he also pointed out the importance of Lebopa as a Sepedi author. The named two short stories have never been examined comprehensively. It was therefore decided that they would be compared to each other in this study. The study begins with a description of the concept 'detective story'. Stewart (1980: 12) states that this type of story deals with an investigator who tries to unravel a mystery. The Boileau - Narcejac and Groenewald classifications of these types of stories also receive attention. The Groenewald classification is used in this dissertation. Strachan and Mojalefa's opinion that a literary work consists of three levels forms the basis of the model used to analyse the short stories. Mojalefa refers to these three levels as 'content level', 'structure level' and 'style level'. 'Topic' and 'theme' are two basic concepts in this investigation. 'Topic' is relevant on a content level while 'theme' is important on a structure level'. The two stories were not analysed stylistically. The content of a text consists of four elements, namely characters, events, time and space, and the study of content concentrates on these four elements. Two main figures who are involved in a conflict with each other are identified in the investigation. The events are divided into three categories. The first category contains basic events and is exclusively determined by the topic. The second and third categories respectively contain relevant and coincidental events. The 'time' concept is subdivided into 'point of time' and 'lapse of time'. 'Place' includes amongst other things, 'geographic', 'socio-cultural' and 'symbolic place'. The analysis of the structural level relies heavily on the 'mini-framework' concept which involves the microstructure of a work. Attention is devoted to the title. Hereafter the investigation focused on the different parts of the structure i.e. the exposition, the development, the climax and the resolution. The structural analysis concentrates mainly on the author's use of literary techniques. The concept 'technique' is defined and the following techniques from Ntlo ya monna yo mongwe and Bomahlwabadibona are identified and discussed: repetition, shifting, frequency, dramatic irony, omission, focus, complication and deceit. The investigation is a functional analysis and not a taxonomic one, which means that the ways in which the techniques function also receive attention. The comparison between the two short stories reveals that they belong to two different kinds of detective stories. In Ntlo ya monna yo mongwe the unravelling of the mystery receive the most attention. In Bomahlwabadibona those events which gradually expose the cruelty of the antagonist and which deal with his punishment are most prominent. This is in accordance with Dresden and Vestdijk's description of the English and American detective story respectively. The positions of Ntlo ya monna yo mongwe and Bomahlwabadibona in relation to the rest of the Sepedi narrative genre is then precisely indicated. The concluding chapter is a summary. At the end of this chapter a brief allusion is made to Dresden and Vestdijk's opinion that the detective story is a modern fairytale. / Dissertation (MA)--University of Pretoria, 2013. / African Languages / unrestricted

This study used the research method of phenomenology to elicit the patient's perspective of the illness experience following a myocardial infarction (MI). The purpose of studying this experience was to gain an understanding of what it meant to men and women to have a MI, what the learning needs were following a MI, and how these learning needs were met. It was proposed that patients would view the illness experience differently from health professionals, thus the patients would identify different learning needs. Anderson's (1985) adaptation of Kleinman's health care system framework was used to conceptualize this problem. Three males and two females, ranging in age from 42 to 77 years, participated in the study. Data were collected through 11 in-depth interviews. From analysis of this data significant statements were extracted to provide a description of the phenomenon under study. The findings of this study suggest that health professionals and patients do view the MI experience from different perspectives. The emphasis of the patients on understanding the MI experience from the reality of their world is reflected in their attempts to rationalize the occurrence of the MI and their desires to know more about their own MI, prognosis, and treatment. In order to plan patient education that will assist post-MI patients in their recovery health professionals must assess patients individually for their: (1) beliefs regarding risk factors and causes of MI; (2) desire for Information; (3) preference for method of instruction; and, (4) preference for timing of education. / Applied Science, Faculty of / Nursing, School of / Graduate

The work concern about the support of semantics in known content managing systems. It is describing the possibilities of use for these technologies and their public accessibility. We find out, that today's technologies and methods are in the state of public inducting. In the question of semantic support in CMS Drupal we developed a tool for extending its support of semantic formats. This tool allows CMS Drupal to export its information in a Topic Maps format. For this it uses the XTM file.

Les Technologies de l’Information en Santé (TIS) sont de plus en plus utilisées pour améliorer la qualité des soins et la sécurité du patient. Cependant, certains problèmes d’utilisabilité peuvent amenuiser leur impact et peuvent même induire de nouveaux problèmes dont la mise en danger du patient. Pour éviter ces effets négatifs, il est notamment nécessaire d’améliorer l’utilisabilité des TIS ce qui requiert l’application de connaissances d’utilisabilité éprouvées. Les connaissances en utilisabilité appliquée aux TIS sont rares, éparpillées à travers diverses supports et peu utilisables. Par ailleurs, leur couverture en termes de problèmes d’utilisabilité est peu connue. Ce travail a deux objectifs: (i) participer à l’amélioration de l’accumulation de la connaissance en utilisabilité pour les TIS, (ii) fournir une connaissance structurée sur l’utilisabilité des TIS et dont la couverture est établie. Le domaine d’application est celui des systèmes d’alerte médicamenteux.Méthode. Deux analyses indépendantes de la littérature ont été menées : d’un côté, identifier et organiser les problèmes d’utilisabilité des systèmes d’alerte médicamenteux ainsi que leurs conséquences ; de l’autre, identifier et synthétiser les principes d’utilisabilité spécifiques à ces systèmes. Les résultats de ces analyses ont été croisés afin de connaitre la couverture desdits principes en termes de problèmes d’utilisabilité.Résultats. La revue systématique a identifié 13 types de problèmes d’utilisabilité dans les systèmes d’alerte médicamenteux. Les conséquences de ces problèmes sur le clinicien et son système de travail sont variées et ont un grand pouvoir de nuisance (e.g., fatigue, erreur d’interprétation). Au total, 63 principes d’utilisabilité permettent de rendre compte de tous les problèmes d’utilisabilité identifiés. Ils sont organisés en 6 thèmes : améliorer le ratio signal-bruit, être en adéquation avec l’activité des cliniciens, supporter le travail collaboratif, afficher les informations pertinentes, rendre le système transparent et fournir des outils utiles. Le croisement des deux ensembles de données révèle une bonne correspondance entre les principes d’utilisabilité énoncés et les problèmes d’utilisabilité réellement observés.Discussion. Une liste structurée des principes d’utilisabilité illustrés par des exemples réels de leur violation a été développée à partir de ce travail. Cette liste peut aider les concepteurs et les experts en Facteurs Humains à comprendre et à appliquer les principes d’utilisabilité durant la conception et l’évaluation de systèmes d’alerte médicamenteux. L’utilisabilité appliquée aux TIS est une discipline relativement récente qui souffre d’un déficit de structuration et de capitalisation de ses connaissances. Ce travail montre qu’il est possible d’accumuler et de structurer les données d’utilisabilité des TIS. Ce travail pourrait être poursuivi en développant une base de connaissance en utilisabilité appliquée aux TIS afin de tendre vers une « utilisabilité fondée sur les preuves ». / Health Information Technology (HIT) is increasingly implemented to improve healthcare quality and patient safety. However, some usability issues may reduce their impact and even induce new problems (including patient safety issues). To avoid those negative outcomes, amongst other actions, HIT usability must be improved. This action requires applying validated usability knowledge. However, usability knowledge applied to HIT is scattered across several sources, is not structured and is hardly usable. Moreover, its coverage regarding related usability flaws is not known. This work has two aims: (i) to participate in improving the accumulation of usability knowledge for HIT and (ii) to provide synthetic structured easy-to-use HIT usability knowledge with a clear coverage. Those aims are applied to medication alerting systems.Method.Two independent analyses of the literature have been performed. On the one hand, usability flaws and their consequences for the clinicians and the work system have been searched and organized; on the other hand, existing usability design principles specific to medication alerting systems have been synthesized. Results of both analyses have been matched together. Results.A systematic review identified 13 types of usability flaws in medication alerting systems. Consequences on the clinicians and the work system are varied: they greatly impede the clinicians and negatively impact the work system (e.g., alert fatigue, alert misinterpretation). Sixty-three usability design principles dedicated to medication alerting systems are identified. They represent six themes: improve the signal-to-noise ratio, fit clinicians’ workflow, support collaborative work, display relevant information, make the system transparent and provide useful tools. The matching between usability flaws and principles is quite good.Discussion.As a result of this work, a list of usability design principles illustrated by actual instances of their violation has been developed. It may help designers and Human Factors experts understand and apply usability design principles when designing and evaluating medication alerting systems. Usability applied to HIT is a recent research field that suffers from a deficit of structured knowledge. This work shows that it is possible to accumulate and structure usability knowledge. It could be carried on by developing a usability knowledge base dedicated to HIT in order to strive towards “evidence-based usability”.