Le mythe des Atrides, qui résume à lui seul, toutes les horreurs et toutes les cruautés dont l’homme a pu se rendre coupable – fratricide, régicide, parricide, matricide, infanticide, inceste, cannibalisme, sacrifice humain – et qui a été relativement négligé par la tragédie classique au XVIIe siècle, a connu un essor sans précédent au XVIIIe siècle où une vingtaine de pièces tragiques lui ont été consacrées, sans compter les opéras et les ballets. Mais ce théâtre tragique, en dépit de son immense succès auprès du public au XVIIIe siècle, a pâti par la suite d’un regrettable préjugé auquel le célèbre vers de Victor Hugo - « Sur le Racine mort, le Campistron pullule », n’est pas étranger. Nous élevant contre cette vision réductrice , nous avons voulu par cette étude qui a porté sur huit des œuvres dramatiques les plus significatives qui ont traité des principaux épisodes de la fable antique – allant du crime de Tantale à la vengeance d’Oreste, en passant par le sacrifice d’Iphigénie et le meurtre d’Agamemnon – montrer la spécificité dramatique, morale et philosophique de la tragédie des Lumières qui a été « un laboratoire des formes et des idées » où se sont élaborées à la fois une sensibilité nouvelle, une nouvelle dramaturgie et une nouvelle vision du monde, bien différentes de celles de la tragédie classique. / The myth of Atrides, which summarizes to him only, all the horrors and all the cruelties the man of which was able to be guilty - fratricide, regicide, parricide, matricide, infanticide, incest, cannibalism, human sacrifice - and which was relatively neglected by the classic tragedy in the XVIIth century, knew an unprecedented development about the XVIIIth century when about twenty tragic plays were dedicated to him, without counting the operas and the ballets. But this tragic theater, in spite of its immense success with the public in the XVIIIth century, suffered afterward from a regrettable prejudice to which Victor Hugo's famous verse - " On the Racine died, The Campistron swarms "-, is not foreign. Raising us against this reducing vision, we wanted by this study which concerned eight of the most significant dramatic works the significant which handled main episodes of the antique fable - going of the crime of Tantale to Oreste's vengeance, including the sacrifice of Iphigénie and the murder of Agamemnon - to show the dramatic, moral and philosophic specificity of the tragedy of the Lights which was " a laboratory of the forms and the ideas " where developed at the same time a new sensibility, a new dramatic art and a new vision of the world, very different from those classic tragedy.

<p>TOUCHE (Task-Oriented and User-Centered process model for developing interfaces for Human-Computer-Human Environments) is a process model for software development created to develop groupware. The creation of TOUCHE is part of a research project carried out at three Spanish universities. The aim of the project is to create a complete process model for the development of usable groupware. This thesis is part of this project and aims to further advance the TOUCHE process model so that it fulfills its aim on developing for usability. The thesis is based on research from the HCI (Human-Computer Interaction) and CSCW (Computer-Supported Cooperative Work) fields. In the thesis a new version of TOUCHE is created which has a strong focus on developing for usability.This is done by selecting four principles from the HCI field, incorporating what is considered to be most important when developing for usability. The principles are a strong focus on, and the involvement of users throughout the whole process, an iterative process, multidisciplinary design, and aim for groupware usability. TOUCHE is analyzed from these principles and missing elements are identified. The difficulties of integrating these elements into TOUCHE are discussed and finally elements are chosen to be integrated into TOUCHE. These elements include a usability guide, evaluation cycles, prototyping, pre-documentation and a multidisciplinary team.</p>

TOUCHE (Task-Oriented and User-Centered process model for developing interfaces for Human-Computer-Human Environments) is a process model for software development created to develop groupware. The creation of TOUCHE is part of a research project carried out at three Spanish universities. The aim of the project is to create a complete process model for the development of usable groupware. This thesis is part of this project and aims to further advance the TOUCHE process model so that it fulfills its aim on developing for usability. The thesis is based on research from the HCI (Human-Computer Interaction) and CSCW (Computer-Supported Cooperative Work) fields. In the thesis a new version of TOUCHE is created which has a strong focus on developing for usability.This is done by selecting four principles from the HCI field, incorporating what is considered to be most important when developing for usability. The principles are a strong focus on, and the involvement of users throughout the whole process, an iterative process, multidisciplinary design, and aim for groupware usability. TOUCHE is analyzed from these principles and missing elements are identified. The difficulties of integrating these elements into TOUCHE are discussed and finally elements are chosen to be integrated into TOUCHE. These elements include a usability guide, evaluation cycles, prototyping, pre-documentation and a multidisciplinary team.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-04-04T18:09:36Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese-Mariana Final.pdf corrigido.pdf: 2159128 bytes, checksum: bdfed255703af337c3a69c13943db2a5 (MD5) / Made available in DSpace on 2016-04-04T18:09:36Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese-Mariana Final.pdf corrigido.pdf: 2159128 bytes, checksum: bdfed255703af337c3a69c13943db2a5 (MD5) Previous issue date: 2014-11-28 / O interesse público no Direito Administrativo brasileiro corresponde ao objeto central de análise da presente tese. Considerando a permanência do termo no Direito de diferentes localidades e períodos históricos, a tese o estuda em uma perspectiva de origem, forma e conteúdo e também no que tange aos seus principais desdobramentos: supremacia do interesse público sobre o privado e indisponibilidade do interesse público. Para o desenvolvimento do estudo, a tese recorreu a referenciais teóricos variados, focou-se na análise de textos normativos, bem como na leitura de decisões judiciais. Os embasamentos teóricos principais que ofereceram sustentação às conclusões formuladas originaram-se das teorias do Direito Constitucional e Administrativo, da Hermenêutica Jurídica e do pós-positivismo. Os resultados derivados das pesquisas feitas, no que tange à forma do interesse público, centraram-se na constatação da fluidez da expressão, em sua caracterização como conceito jurídico indeterminado, na sua autonomia e especificidade no campo do Direito Administrativo brasileiro e, ainda, na inexistência da ideia de um “interesse público” secundário legítimo. No que concerne ao aspecto do conteúdo, a expressão teve a sua compreensão formulada a partir das ideias de dicotomia público e privado, maioria e minoria, pluralismo e juridicidade. Por fim, a tese concluiu pela necessidade de uma meta Atena para a atuação da Administração Pública, a partir das características que qualificam a deusa grega: justiça, prudência e sabedoria. / L'intérêt public dans le Droit Administratif brésilien correspond à l‟objet central de l‟analyse de la présente thèse. Tenant compte de la permanence du terme dans le Droit de différentes lieux et périodes historiques, la thèse l‟étudie sous une perspective ayant comme point de départ l‟origine, la forme et contenu. Pour son développement, cette étude a fait usage de différents cadres théoriques, elle a mis l‟accent sur l‟analyse des textes normatifs actuellement en vigueur au Brésil, ainsi que sur la lecture de décisions juridiques nationales. Les fondements théoriques principaux ayant soutenu les conclusions formulées, ont été retirés des théories du Droit Constitutionnel, du Droit Administratif, de l‟Herméneutique Juridique et du post-positivisme. Les résultats issus des recherches réalisées, concernant la forme de l'intérêt public, ont abouti à la constatation de la fluidité de l‟expression, à sa caractérisation en tant que concept juridique indéterminé, à son autonomie et spécificité dans le Droit Administratif brésilien et, également, à l‟inexistence d‟une idée « d‟intérêt public » secondaire légitime. En ce qui concerne l‟aspect du contenu, le sens de cette expression repose sur les dichotomies public et privé, majorité et minorité, pluralisme et juridicité. En conclusion, cette étude a identifié le besoin d‟une méta Athéna au niveau de l‟Administration Publique, fondée sur les caractéristiques qui qualifient la déesse grecque : justice, prudence et sagesse.

À la fois pratiques sportive et artistique, la lutte, appelée aussi « Lamb » est un phénomène immense au Sénégal. Elle est pratiquée par presque dans toutes les ethnies durant des périodes ou évènements bien définis. La lutte s’inscrit aujourd’hui dans le processus de passage des jeux aux sports selon le phénomène de sportivisation des jeux traditionnels malgré son ancrage dans l’imaginaire sénégalais, lié au monde des croyances et des superstitions. Cependant, elle n’est pas enseignée à l’école. Dans cette thèse nous essayons de déterminer, fonder et évaluer dans le cadre des contraintes de l’EPS au Sénégal, un contenu d’enseignement de cette activité considérée pour d’aucuns comme notre sport «roi». Autrement dit, quelle forme de pratique scolaire de la lutte peut-on proposer aux élèves compte tenu d’une part des contraintes de l’EPS et d’autre part de la signification sociale et culturelle de la lutte sénégalaise? Et quelles sont les compétences à développer ? Dans le cadre d’une modélisation d’une forme de lutte scolaire « avec touche », nous mobilisons l’approche anthropo-techno-didactique pour l’étude des pratiques de lutte au Sénégal et pour rendre compte du fonctionnement et des effets de la transmission et de l’appropriation d’une forme de lutte avec touche à l’école. La mise en relation des apports anthropologique, technologique et didactique permet de construire une forme de pratique appropriée et pleine de sens. Les résultats montrent que l’intégration des pratiques culturelles et rituelles relatives à l’activité ainsi que l’identification et la prise en compte des difficultés des élèves et de l’enseignant liées à la réalité du combat s’avèrent déterminante dans la construction de contenus. Ainsi pour un enseignement efficace et utile, l’enseignant doit partir de ces déjà-là, des représentations initiales des élèves, de la spécificité du savoir combattre et des manifestations culturelles et symboliques. / The Senegalese Wrestling known as "Lamb" is both a sport and an art. It is also as ubiquitous as a huge phenomenon in Senegal. It is practiced in almost all ethnic groups during well-defined periods and also during some specific events. This fight is now part of the process of moving from games to sports like the phenomenon of sportization traditional games, and despite its anchoring into the Senegalese beliefs and imagination, linked to the world of beliefs and superstitions. Nevertheless, it is not taught in schools. In this thesis we try to determine, establish and evaluate within the constraints of the EPS in Senegal, an educational content of this activity as it is considered to some as the sport "king." In other words, what form of school practice in the Senegalese wrestling can be proposed to students considering a share of the constraints of the EPS and also the social and cultural significance of this kind of wrestling? And what are the skills to develop? As part of a modeling of a form of wrestling “with touch” in school, we mobilize the anthropo-techno-didactic approach for the study of practices of wrestling in Senegal and to account for the functioning and the effects of the transmission and the appropriation of a form of wrestling in school. Linking inputs the anthropological, technological and educational contributions, builds a form of practice appropriate and meaningful. The results show that the integration of cultural practices and rituals relating to the activity and the identification and consideration of the difficulties of students and teachers related to the reality of combat proved decisive in the construction of content. Thus, for effective and meaningful teaching, teachers must start from the already-there bases, students' initial representations and from the specific knowledge of fighting not to forget the cultural and symbolic of such wrestling.

Nous ne sommes plus à l’âge où les destructions poétiques d’appareils se voient car les régimes d’appareils sont devenus transparents : lorsque nous pressons un écran tactile, nous touchons ce que nous ne voyons plus, nos empreintes, et nous voyons ce que nous ne toucherons jamais, le plan numérique. Pour l’artiste contemporain, l’interface haptique – point d’orgue d’une technologie stéréotypée de la percussion – est le parergon d’une échelle inédite, toute tactile. De la machine à écrire aux claviers de plus en plus fins du design informatique, à mesure que l’on croit voir le bloc imaginaire céder sous la pression ergonomique de l’empire cybernétique, se palpe en fait un réel d’emblée en dehors des formes et à l’intérieur de notre doigté. C’est l’espace de la corne aux doigts. Ce transfert, cette remontée du point d’impact dans son élan, ce retour de la forme dans sa structure font du moment de touche – de l’appareillage comme manœuvre de départ – un isolat capital pour reposer la question de la sculpture à l’époque des immatériaux. Bien en face et à contre-courant de la surface informatique, une épaisseur sensible fonctionnelle aurait lieu et pourrait donc faire œuvre ; telle est la thèse proposée ici. Le comportement machinal de l’utilisateur d’interfaces sera considéré comme un modèle poïétique ou pensé comme une partie de l’imagination en attente de traduction plastique. Pendant que se joue l’expérience rythmique de l’interactivité, le corps ne doit-il pas fournir un effort perceptif pour ne pas s’absenter dans une partition photo-digitale jouée par avance ? Ne doit-il pas exprimer son ancrage particulier, calleux et bruissant – nous l’appellerons dactylo-phonique – au contact de la matière du monde ? Sans cette expression, jamais le design technologique contemporain, bi ou tridimensionnel, modélisé et assisté par ordinateur, n’entamera de rapport véritablement efficient avec le réel de nos habitudes et de nos démarches ; bref avec tout le poids incarné de notre conscience imageante : la perte d’indicialité instaurerait-elle un type introverti de phénoménalité ? / Poetic destructions of apparatus are no longer visible as regimes of apparatus have become transparent: when we press a tactile screen, we touch what we cannot see anymore – our fingerprints – and we see what we will never be able to touch – the digital space. For contemporary artists, haptic interfaces are the finger-tipping point of a technological dynamics of percussion but also the parergon of a new and entirely tactile scale. From the first typewriters to the latest ultra thin keyboards designed by computer manufacturers, we may think imagination is yielding under the ergonomic pressure of the cybernetic world. But in fact, existing outside of the shapes and right under our fingertips lies a palpable reality – the space of calluses. This transfer, this sensory feedback, this return of the form to its structure turns this casting off of the apparatus into an essential isolate to rethink sculpture in the age of immateriality. Right in front of the computer surface but working against it, there would be a functional sensitive thickness – an art-making place. This is our thesis. The machine-like behaviour of the interface user will be considered as a poietic model or regarded as a part of imagination waiting for plastic translation.We may wonder whether the rhythmic experience of interactivity does not entail a perceptual bodily effort on our side in order not to remain absent during the performance of a somewhat predictable photo-digital score.Doesn't this peculiar, callous and rustling – or dactylo-phonic – anchoring of the body to the substance of the world need to express itself? Without this expression, contemporary technological design — whether bi or tri-dimensional, modeled or computer-assisted — will never initiate a truly efficient relation with the real experience of our habits and actions, i.e. with all the embodied strength of our image-making consciousness: does the loss of indiciality create an introverted type of phenomenality ?

Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.