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Cette étude s'inscrit dans le courant de recherche de la psychologie cognitive différentielle. Ce courant s'intéresse plus particulièrement aux différences individuelles observées dans les tests classiques d'intelligence en utilisant l'approche du traitement de l'information. De façon générale ce mémoire s'intéresse aux possibilités appliquées du modèle de mémoire de travail de Baddeley (1986). L'objectif plus spécifique est d'étudier le rôle de deux composantes de ce modèle soit la boucle articulatoire et la tablette visuo-spatiale dans les sous-tests de l'échelle de mémoire à court terme du Stanford-Binet, quatrième édition. La méthodologie utilisée est celle de la charge mnémonique (memory loading). Il s'agit de comparer la performance obtenue dans le rappel sériel différé de deux types de tâches (spatiales et verbales) en employant comme tâches interférentes les items de l'échelle de mémoire. Il est postulé que la boucle articulatoire est impliquée dans tous les sous-tests. Cependant, un de ces sous-tests sollicite possiblement les ressources de la tablette visuo-spatiale. Un protocole intra-sujet de type quasi-expérimental est utilisé avec seize sujets étudiants universitaires. Les résultats observés ne démontrent aucune interaction significative de la charge mnémonique avec les tâches interférentes. Cependant, pour l'ensemble des conditions, le pourcentage d'erreurs au rappel de la tâche verbale est plus élevé que celui qui est observé pour la tâche visuo-spatiale. Aussi, les sous tests montrent un effet indifférencié aux deux types de tâches.

Suite à l'échec du behaviorisme, une nouvelle forme d'explication des états mentaux qui pouvait tenir compte du caractère subjectif de l'expérience phénoménale devenait nécessaire. Les progrès en mathématique et en logique symbolique ont permis, en grande partie grâce aux travaux du britannique Alan Turing vers la fin des années 30, de développer un modèle du cerveau auquel participe ce que l'on nomme l' « intelligence artificielle ». Une pléiade de sciences se sont alors regroupées autour de cette nouvelle discipline pour former la « science cognitive ». De cette union est née la théorie computationnelle de l'esprit ou« cognitivisme ». D'après cette théorie, le cerveau serait un ordinateur digital qui traite de l'information, et l'esprit ne serait qu'un programme informatique. Dans cette perspective, la relation corps-esprit correspond à l'approche « fonctionnaliste » et fait abstraction de la nature du cerveau et de sa neurophysiologie. Tout comme des ordinateurs aux architectures différentes arrivent à produire les mêmes résultats, on suppose que deux systèmes ayant des états fonctionnels isomorphes se trouvent nécessairement dans des états cognitifs identiques. Ainsi, le cerveau et l'ordinateur seraient deux systèmes physiques de calculs sur des représentations symboliques. Cependant, l'ordinateur digital et l'intelligence artificielle ne fournissent qu'un modèle qu'il ne faut pas confondre avec la réalité de notre spécificité. Ni la conscience ni l'intentionnalité ne peuvent être expliquées par une simple métaphore et, en ce sens, le cerveau n'a rien d'un ordinateur digital.

In this essay I study the intertextual connections between The Line of Beauty by Alan Hollinghurst and The Spoils of Poynton by Henry James. Using the critic Harold Bloom’s theories about misreading, as well as other theories on intertextuality by Roland Barthes, I examine how the intertextual connections between Hollinghurst’s protagonist Nick Guest and James’s main character Fleda Vetch present themselves. I discuss allusion, especially focusing on how the disappointments of the principal characters in both works mirror one another. Furthermore, using Bloom’s framework, I examine how Henry James is a precursor to Hollinghurst, and how Hollinghurst becomes an ephebe to James. I follow this idea, and I support it by exploring the many references to James’s writing in the Line of Beauty. Ultimately, I argue that Hollinghurst’s misreading of James leads to his supplanting him through the process named kenosis by Bloom.

Alan Sokal has questioned the postmodern assertion that 'science is ... a "myth'', a "narration" ... a "social construction'" (1998: x). This dissertation examines his reasons for rejecting this allegedly postmodern declaration. Firstly, it suggests that the basis for Sol'1ll's contention that a 'true' world exists beyond one's awareness of it extends to an attack on modem philosophy, and is not limited to its postmodern component. Then, it describes defences of the 'linguistic construction' of science as thinly veiled attempts at emulating scientific discourses. In a more speculative vein, the dissertation goes on to evaluate claims made against science in terms of its connection to warfare; its insensitivity to mythology, and its generally misdirected values. It is in terms of value that the dissertation detects an analogous relationship between the discourses of mythology and science. Finally, a playful 'postmodern' reading is attempted of Sol'1ll's use of fiction in establishing the truth of his assertions. / English Studies / M.A.(English)

[pt] Esta pesquisa investiga a contemporaneidade da obra do escritor irlandês Samuel Beckett. A investigação privilegia três eixos, em três ensaios que articulam aspectos historiográficos, filosóficos e cênicos. O primeiro ensaio pensa de que forma a poética do tempo em Beckett participa do debate atual sobre o contemporâneo. O segundo ensaio, voltado para a produção televisiva de Beckett e atentando em especial às leituras que dela fez Gilles Deleuze, reflete sobre a produção de um pensamento entre, sobre ecos e ressonâncias geradas por este encontro. Por fim, o terceiro ensaio explora a recepção norteamericana da obra de Beckett, a partir da criação cênica e performática desenvolvida em parcerias com o diretor Alan Schneider, nas montagens de Not I e Rockaby, e com grupo Mabou Mines/NY, nas adaptações dos textos não teatrais The lost ones, Company, e Worstward Ho. / [en] This research investigates the contemporary vigor of Samuel Beckett s work. It moves along three main paths, in three essays where historiographical, philosophical and scenic aspects are articulated. The first essay reflects on how Beckett s poetics of time participates in the current debate on the contemporary. The second, focusing on Beckett s plays for television and paying special attention to Gilles Deleuze s readings of it, reflects on the concept of thinking in between, on echoes and resonances generated by this powerful encounter. Finally, the third essay explores the North American reception of Beckett s work, attending to the scenic and performative creations developed in partnership with director Alan Schneider, in the productions of Not I and Rockaby, and with the Mabou Mines Group/NY, in their adaptions of The lost ones, Company, and Worstward Ho.

Alan Sokal has questioned the postmodern assertion that 'science is ... a "myth'', a "narration" ... a "social construction'" (1998: x). This dissertation examines his reasons for rejecting this allegedly postmodern declaration. Firstly, it suggests that the basis for Sol'1ll's contention that a 'true' world exists beyond one's awareness of it extends to an attack on modem philosophy, and is not limited to its postmodern component. Then, it describes defences of the 'linguistic construction' of science as thinly veiled attempts at emulating scientific discourses. In a more speculative vein, the dissertation goes on to evaluate claims made against science in terms of its connection to warfare; its insensitivity to mythology, and its generally misdirected values. It is in terms of value that the dissertation detects an analogous relationship between the discourses of mythology and science. Finally, a playful 'postmodern' reading is attempted of Sol'1ll's use of fiction in establishing the truth of his assertions. / English Studies / M.A.(English)

This work aims to study to homonymous works, From Hell, the graphic novel by Alan Moore and Eddie Campbell and the film adaptation directed by Albert and Allen Hughes, so as to develop a media study as well as plot and script analysis, Based on the Media Studies, focusing the theories of Cluver, Moser, Genette and Diniz, among others, we intend to approximate the distance between the corpora in the tension caused their autonomy. Therefore, the analysis seeks to understand the idiosyncrasies of each art s composition and, by the distance between each work, to apprehend their singularities given by the authors. To approach the composition, authors such as Eisner, Cagnin, Barthes and Eisenstein gave support to understand the functioning of both the film and the graphic novel. To analyze and organize the plots, the theory of Barthes guided once again the understanding of the compounding elements of the story like main and complementary events, character description and atmosphere. In addition to this there is also the symbol study, essential to From Hell study, based on Brenda Mallon s reflections. Finally, the understanding of the film and the graphic novel is done by means of two themes gender and sex , followed by Hell aiming to measure the range of each work. Therefore, when we follow the trajectory of the smaller parts up to the main event, we build the understanding of the whole corpus, comparing the synchrony of each work and their form and content. / Este trabalho tem por objetivo confrontar duas obras homônimas, Do inferno, sendo uma o romance gráfico de Alan Moore e Eddie Campbell e a adaptação dos diretores Albert e Allen Hughes, feita com base na primeira obra, a fim de desenvolver um estudo de media e de enredo. Com base nos estudos de intermidialidade, arrolando as teorias de Claus Clüver, Walter Moser, Gerard Genette e Thais Flores Diniz, entre outros, pretende-se relativizar a distância que há entre as partes do corpus na tensão provocada pela autonomia contra a ligação que elas mantém. Portanto, a análise busca através das proximidades entre ambos entender as idiossincrasias da composição de cada arte e, através dos distanciamentos, apreender as singularidades das obras atribuídas pelos autores. Para abordar a composição, autores como Will Eisner, Luis Antonio Cagnin, Roland Barthes e Sergei Eisenstein deram suporte para compreender o funcionamento tanto filme quanto da história em quadrinhos. Já para adentrar e organizar os enredos, a sistematização de Roland Barthes mais uma vez guiou a compreensão dos elementos constitutivos da história, como eventos principais e complementares, caracterização dos personagens e atmosfera da ação. Somada a essa parte, há ainda o estudo da simbologia, fundamental para a leitura de Do inferno pautado nas reflexões de Brenda Mallon. Em última instância, a compreensão do filme e do romance gráfico é realizada por duas grandes temáticas Gênero e Sexo seguida por Inferno com o intuito de depreender o âmbito ou o tom de cada obra. Por conseguinte, ao percorrer a trajetória das menores partes até a esfera geral, constrói-se a compreensão minuciosa do corpus, comparando a articulação que cada obra faz entre sua forma e seu conteúdo. / Mestre em Teoria Literária

(in English): Chatbots are automatised computer programs which are built to simulate an exchange in communication with a human being. Simultaneously, they provide new user interfaces. In 1994, Jacob Nielsen defined ten heuristic rules that are traditionally used within the design of user interfaces. This thesis's aim is to find out whether these ten rules are applicable in new fields of conversational environments. Secondly, what are the conditions under which the exchange becomes possible. The matter was examined through a qualitative research with the sample of eleven respondents who'd created chatbots within the Czech professional environment. The next step was a grounded analysis of existing established theories. The theoretical part explains the context in which chatbots are being created. It also shows theoretical canons of user interfaces which are the base of data and experience for the researches.