Notre thèse est structurée en trois parties : Le concept d'identité et l'identité narrative, Le contact des cultures et l'identité culturelle, Devenir écrivain français et nous nous sommes proposée d'y répondre à la problématique énoncée dès le titre, à savoir comment un écrivain qui n'est pas né en France peut arriver au statut d'écrivain français. Nous avons examiné le problème de l'identité, ses différentes composantes (personnelle / sociale / culturelle), analysé comment ce concept est illustré dans l’œuvre des quatre auteurs qui nous intéressent aussi bien au niveau thématique que de point de vue narratologique. Nous avons essayé de présenter la problématique assez complexe du contact culturel, quelles en sont les étapes (déculturation, acculturation, ré-cultururation, transculturation), les conséquences, comment ces quatre écrivains ont vécu ce contact culturel et comment ils en témoignent dans leurs romans ou textes autobiographiques. La troisième partie illustre la problématique de l'identité littéraire d'un autre point de vue. Il est certain que les auteurs que nous étudions ont perdu une patrie (ils ne sont pas retournés vivre dans leur pays natal - sauf Alexakis, qui a opté pour un va et vient permanent entre les deux contrées - même si les facteurs qui les ont déterminés à le quitter ont disparu) mais ils ont acquis une nouvelle langue (une langue de lumière et de bonheur qui leur a également ouvert la grande porte d'entrée de la Littérature Française) et une nouvelle nationalité. C'est le cas d'Andreï Makine et de Milan Kundera. Amin Maalouf a opté pour la double nationalité, franco-libanaise, alors que Vassilis Alexakis a refusé d'acquérir la nationalité française. Les quatre auteurs ont atteint le niveau de transculturation, dans le sens défini par Todorov, c'est à dire celui d'acquisition d'un nouveau code culturel sans que l'antérieur soit complètement effacé, et nous le remarquons bien dans leurs écrits. Le changement de langue a déterminé des variations esthétiques et génériques (Kundera, Maalouf), formelles (Kundera : les différences entre le cycle tchèque et le cycle français, Makine : les différences entre les premiers écrits et les derniers) et le problème de l'autotraduction dans le cas d'Alexakis mais de Kundera aussi. Nous nous sommes également intéressée à leur activité professionnelle en France (professeur, journaliste, etc.), aux distinctions et aux prix littéraires reçus et le rôle de ceux-ci dans leur naturalisation. Ils sont tous quatre lauréats de prix les plus prestigieux (Goncourt, Médicis, Prix de l'Académie Française, pour n'en citer que quelques uns), ce qui a déterminé des changements importants dans leur vie et dans la réception de leur œuvre. / Our paper is structured in three parts : The concept of identity and narrative identity, The contact of cultures and the cultural identity, Becoming a French writer and we intend to answer the problem announced in the title, determining how a writer who was not born in France can reach the status of a french writer. We have analysed the issue of identity, its different components (personal/social/cultural) and the manner in which this concept is illustrated in the work of the above mentioned authors who are under our scrutiny both on a thematic level and on a narratological one. We have attempted to present the quite complex issue of the cultural contact, with its stages (deculturalization, aculturalization, re-culturalization, trans-culturalization), its consequences, the manner in which the four authors have experienced this cultural contact and how they presented it as testimonials in their novels or autobiographical texts. The third part of our paper illustrates the problem of literary identity from another point of view. It is certain that the authors we are studying lost a country (they did not return alive to their country of origin - with the exception of Alexakis, who as opted for a permanent coming and going between the two countries - even if the circumstances that had made him leave disappeared eventuelly) but they gained a new language (a language of light and happiness which also opened the great gate of entering French Literature) and a new nationality. It is the case of AndreÏ Makine and of Milan Kundera. Milan Maalouf opted for the double citizenship, French-Lebanese, while Vassilis Alexakis refused to obtain French nationality. The four authors reached the level of trans-culturalization, in the meaning defined by Todorov, specifically that of acquiring a new cultural code without completely erasing the previous one and we can clearly remark this in their works. The change of language determined aesthetic and generic (Kundera, Maalouf), formal (Kundera : the differences between the Czech cycle and the French cycle, Makine : the differences between his first and his last writings) variations and issues of self-translation in the case of Alexakis but also Kundera. We are also interested in their professional activity in France (teacher, journalist, etc.), in distinctions and literary awards they received and their role in their naturalization. They are all four laureates of most prestigious awards (Goncourt, Médicis, the award of the French Academy, to mantion some of them) fact which determined important changes in their lives and in the reception of their work.

Second language (L2) decoding – the sub-lexical process of mapping the graphemes of an alphabetic writing system onto the phonemes they represent – is argued to underpin various aspects of L2 learning, particularly vocabulary acquisition. Recently, second language acquisition research has shown increased interest in decoding, consistently finding evidence for L1-to-L2 transfer effects on learners’ processing mechanisms and outcomes. Correspondingly, studies conducted in Modern Foreign Language (MFL) classrooms in English secondary schools – an under-researched context – have found that beginner learners of French tend to (a) pronounce L2 words according to English decoding conventions and (b) make poor progress in this aspect of L2 learning. Recent official guidance for MFL teachers has addressed this problem by advocating an explicit focus on decoding, but there is a lack of convincing evidence (both in the MFL context and more widely) that explicit L2 decoding instruction can be effective. The current study therefore trialled two programmes of French decoding instruction for beginner MFL learners, delivered in ten- to fifteen-minute segments over around thirty lessons. Three intact secondary school classes followed a phonics-based approach; three classes from another school followed a programme in which learners were encouraged to derive the pronunciations of French graphemes from ‘source words’ in a memorized poem; and six classes in two other schools received no explicit decoding instruction. Participants (N=186) completed pre- and post-tests of French decoding; a sub-sample (N=15) also completed task-based self-report interviews. The two intervention groups made significantly more progress than the comparison group in terms of the number of graphemes pronounced ‘acceptably’, although the magnitude of the difference between the groups was small. Compared to the comparison group, the two intervention groups also appeared to show different and more extensive patterns of change in their realizations of individual graphemes, even where their pronunciations were still not ‘acceptable’. Finally, self-report data generally revealed little change in participants’ strategic reasoning, either in the intervention or comparison group. Together, these findings suggest that explicit instruction can improve beginner learners’ proficiency in decoding L2 French, but that their progress may follow a longer and more complex trajectory than simply moving directly from ‘incorrect’ to ‘correct’ forms. Further research is required to assess the effects (if any) of a given improvement in decoding proficiency on other language-learning outcomes; and to design and evaluate alternative programmes of instruction.

Orientador: Leila Mezan Algranti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T07:19:59Z (GMT). No. of bitstreams: 1 Geraldino_SamuelMateusGerencsez_M.pdf: 955370 bytes, checksum: fff715c5606b0986b1897422f4e74a47 (MD5) Previous issue date: 2015 / Resumo: A descrição da alimentação nas narrativas de viagem se deu sob o olhar característico do viajante, mas também se configurou segundo os parâmetros do próprio gênero literário. Isto fez com que a alimentação em geral e a experiência culinária vivenciada na viagem fossem pensadas em consonância aos sentidos tanto de um quanto de outro. Procuramos, então, nos concentrar na presente dissertação nas questão de como a alimentação apareceu descrita e qual é o espaço e a importância de sua presença nas descrições de viagem de Auguste de Saint-Hilaire e Jean-Baptiste Debret / Abstract: The description of feeding in travel narratives occurred under the characteristic look of the traveler but also sets itself according to the own literary genre parameters. This made that the food and the gastronomic experience absorbed during the trip were considered thought in accordance with the senses in both directions. We then seek to focus on this thesis on questions such as how the food appeared described and what is the space and importance of its presence as seen in the travel descriptions of Auguste de Saint-Hilaire and Jean-Baptiste Debret / Mestrado / Mestre em História