The design of an efficient, low-cost system for automatically converting a hardcopy technical drawing into a highly compressed electronic representation is the motivation for this work. An improved method for extracting line and region information from a typical engineering drawing is presented. An efficient encoding method has also been proposed that takes advantage of the preprocessing done by the region and line extraction steps. Finally, a technique for creating a highly compressed mathematical representation (based on spline approximations) for the drawing is presented. / M.S.

Arbetet dimensionerar ett panelsystem för att motstå yttre påfrestningar som snö och vind, samtidigt som att det ska erbjuda oförstörande av- och påmontering. Hållfasthetsberäkningar har utförts med hjälp av statiska balkfall. Dimensionering av spår, snäppfunktion och låsningar i profilsystemet har utförts. Konstruktionsritningar har utförts, baserade på dimensionering och standarder. Med hjälp av detta arbete går det att tillverka detta system, åtminstone i ett prototypstadie. / This work dimensions a panel system to withstand external loads such as snow and wind, while it will offer non-destructive removing and assembly. Strength calculations have been performed using static beam cases. The design of the track, the snap-fit assembly and locks in the profile system has been changed. Construction drawings have been made, based on the calculated dimensions and required ISO-standards. With the existing work, it is possible to manufacture this system, at least in a prototype stage.

Thesis (MPhil)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: Anatomy remains a foundational subject in the preclinical years of medical and other allied health sciences courses, with exceptionally large volumes of content, and a unique practical aspect: conducting cadaveric dissection and the use of pre-dissected cadaver specimens. The educational climate can be set by incorporating a suitable introduction to the subject, addressing academically and emotionally underprepared students before the formal commencement of the Anatomy curriculum. The literature does not mention what such an Introduction Module should entail. Quantitative means such as questionnaires have been used to evaluate the perceptions and the emotional and psychological influence of Anatomy. It is often assumed that through words meaning is conveyed, providing researchers with data that can be objectively interpreted. But questionnaires are rather pre-emptive of what students might say about what they experience, and the number of possible answers is restricted. The use of drawings might be an opportunity for the students to express their unmediated feelings; strong emotions could appear in the form of images instead of words, allowing students to experience rather than verbalize feelings especially with a limited vocabulary. Qualitative data analysis enables the researcher to get at complex layers of meaning, interprets human behaviour and experiences beyond the surface appearance, provides rich evidence of this behaviour and/or experiences and consequently builds theory inductively from the data source. The primary purpose of this study is to establish the feasibility of using drawings to explore how a diverse group of students from the University of Limpopo, Medunsa Campus, view Anatomy and what insights can be gained from these drawings to inform the Introduction Module. Students were asked to draw their perceptions of Anatomy after approximately 10 weeks of allocated contact time, which includes lectures as well as practical sessions. A total of 74% (134 out of 181) drawings were handed in. A matrix-type method of analysis based on existing literature was formulated to analyse the drawings. Three dimensions were identified for each of the drawings: “what” is illustrated, then “how” is the message conveyed or illustrated, and lastly, the “emotion” communicated through the drawing. The reliability was increased with two interpreters who analysed the drawings. Learning approaches, orientation on human life and death, the general emotional state of individuals influenced by Anatomy, their course of study, the influence of family and friends are some of the aspects that were depicted in the drawings. The rich data encountered through the drawings provided curriculum organisers with insights enabling them to implement necessary changes to the Introduction Module in order to improve student preparedness for what is to follow during the Anatomy curriculum. Further studies are recommended on how student drawings can be utilised to inform curricula and in other educational contexts. / AFRIKAANSE OPSOMMING: Anatomie bly 'n fundamentele vakgebied in die prekliniese jare van mediese en ander verwante gesondheidswetenskappe kursusse, met besonder groot volumes van die studieinhoud en 'n unieke praktiese aspek: die uitvoer van kadawer disseksie en die gebruik van voorafgedissekteerde kadawer monsters. Die opvoedkundige klimaat kan ingestel word deur 'n geskikte Inleiding Module tot die kurrikulum te voeg wat akademies en emosioneel swak voorbereide studente kan voorberei vir die formele Anatomie kurrikulum. Literatuur noem nie wat so 'n Inleiding Module moet behels nie. Kwantitatiewe praktyke soos vraelyste is voorheen gebruik om die persepsies en die emosionele en sielkundige invloed van Anatomie te evalueer. Dit word dikwels aanvaar dat deur woorde betekenis oorgedra word wat navorsers van data voorsien wat objektief vertolk kan word. Maar vraelyste is vooropgestel ten opsigte van dit wat studente mag ervaar, en die aantal moontlike antwoorde is beperk. Sterk emosies kan na vore kom in die vorm van beelde in plaas van woorde, wat studente in staat stel om te ervaar, eerder as om gevoelens te verwoord, veral met 'n beperkte woordeskat. Die gebruik van tekeninge is 'n geleentheid vir die student om hul onverdeelde gevoelens uit te druk. Kwalitatiewe data-ontleding stel die navorser in staat om komplekse lae van betekenis te interpreteer, menslike gedrag en ervarings buite die oppervlak te analiseer, bied voldoende bewyse van hierdie gedrag en ervarings en kan gevolglik teorie induktief uit die data bron bou. Die primêre doel van hierdie studie is om die lewensvatbaarheid van die gebruik van tekeninge te verken in hoe 'n diverse groep studente aan die Universiteit van Limpopo, Medunsa-kampus, Anatomie sien en watter insigte kan verkry word uit hierdie tekeninge om die temas wat in die Inleiding Module aangespreek moet word, vas te stel. Studente is gevra om hul persepsies van Anatomie uit te beeld na ongeveer tien weke se formele kontaktyd, wat lesings, sowel as praktiese sessies insluit. 'n Totaal van 74% (134 uit 181) tekeninge is ingehandig. 'n Matriks-tipe metode van analise gebaseer op bestaande literatuur is geformuleer om die tekeninge te ontleed. Drie dimensies is geïdentifiseer vir elk van die tekeninge: "wat" is geteken, dan "hoe" is die boodskap wat oorgedra word geïllustreer, en laastens die “emosie” gekommunikeer deur die tekening. Die betroubaarheid is verhoog met twee individue wat die tekeninge ontleed. Leerbenaderings, oriëntering op die menslike lewe en die dood, die algemene emosionele toestand van individue en hoe dit hul persepsies van Anatomie beinvloed, die studiekursus waarvoor hul ingeskryf is, die invloed van familie en vriende, is 'n paar aspekte wat in die tekeninge uitgebeeld is. Die ryk data teëgekom in die tekeninge kan kurrikulum organiseerders in staat te stel om die nodige veranderinge aan die Inleiding Module te implementeer ten einde die voorbereiding van studente te verbeter vir wat gaan volg tydens die Anatomy kurrikulum. Verdere studies word aanbeveel oor hoe student tekeninge gebruik kan word om leerplanne en in ander opvoedkundige kontekste in te lig.

Par son recours à diverses formes d’expression, Unica Zürn (1916-1970) redynamise l’espace de la feuille en le faisant activement participer à l’écriture de soi. Le « je » semble en effet se démultiplier grâce à des jeux « anagrammatiques » sur les divers signes mobilisés, qu’ils soient alphabétiques, picturaux ou musicaux. L’autoreprésentation s’inscrit alors au sein d’une œuvre pluridisciplinaire inusitée, qui renouvelle l’esthétique quelque peu « essoufflée » du mouvement surréaliste. Cette attitude vis-à-vis de la feuille, où plusieurs signes « décomposables » et « recomposables » se partagent l’espace, est observable tant dans l’œuvre littéraire que picturale d’Unica Zürn. Le processus de création par la lettre, le trait et la note de musique, tend à revaloriser le support matériel utilisé par l’effacement des frontières entre les disciplines artistiques, qui appelle un regard distancié du lecteur/spectateur sur l’œuvre. Afin d’interpréter les travaux de Zürn dans la pluralité des moyens artistiques qui y sont déployés, l’approche intermédiale sera favorisée. Dans le premier chapitre de ce mémoire, il s’agira d’abord de voir comment s’articule un certain dialogue entre le discours des chercheurs de l’intermédialité et l’œuvre d’Unica Zürn. Le rapport à l’objet sera notre porte d’entrée dans la matière intermédiale. Par un retour à la matérialité de l’expérience médiatique, nous constaterons que Zürn met à l’avant-scène les instruments et supports de la création, ce qui mène à une représentation distorsionnée de soi, de l’espace et du temps. Une fois le parallèle établi entre les concepts de l’intermédialité et les travaux de Zürn, nous nous concentrerons sur le pan musical de l’œuvre pluridisciplinaire de l’auteure-artiste. Le second chapitre traitera de l’intrusion du sonore dans l’univers textuel, qui se fera notamment par la réappropriation de l’opéra Norma, de Vincenzo Bellini. Cette réécriture s’intitule Les jeux à deux et prend une distance considérable par rapport au texte originel. Elle s’accompagne de dessins effectués par l’auteure-artiste à même les partitions de l’opéra. Le regard multiple posé sur l’œuvre zürnienne permettra de comprendre que l’écriture palimpseste participe du processus d’autoreprésentation, tout en élaborant un discours sur la rencontre entre littérature, dessin et musique, ainsi que sur l’influence de cette juxtaposition sur le débordement des frontières médiatiques traditionnelles. / Having recourse to many forms of expression, Unica Zürn (1916-1970) revitalizes the space of the sheet by having it take an active part in the individual writing. The “I” seems to increase thanks to “anagrammatic” games on the many mobilized signs, whether they are alphabetical, pictorial or musical. The self-representation is inspired by an unusual multidisciplinary work, which renews the aesthetics, somewhat “worn”, of the surrealist movement. This attitude towards the sheet, where many “decomposable” and “recomposable” signs share the space, is observable in Unica Zürn’s literary work as well as in her pictorial work. The process of creation through the letter, the stroke and the musical note tends to reassert the value of the material support used by the abolition of the boundaries among the artistic disciplines, which calls for a distanced look from the reader/spectator on the work. In order to interpret Zürn’s work in the plurality of the artistic means that are deployed, the intermedial approach will be favoured. In the first chapter of this dissertation, we will see how a certain dialog is structured between the views of the intermediality’s researchers and Unica Zürn’s work. The relation to objects will be our entry point in the intermedial subject. Through a return to the materiality of the media-related experience, we will notice that Zürn puts at the forefront the instruments and the supports to the creation, which leads to a contorted representation of oneself, space and time. Once the parallel established between the intermediality’s concepts and Zürn’s work, we will focus on the musical aspect of the author-artist’s multidisciplinary work. The second chapter will deal with the intrusion of sound in the textual universe, which will occur through the reappropriation of the Vincenzo Bellini’s opera “Norma”. This revising is called “Les jeux à deux” and is significantly different from the original text, and is paired with drawings made by the author-artist directly on the opera’s partitions. The multiple look placed upon the zurnian work will allow to understand that the palimpsest writing takes part in the self-representation process, through elaborating a view regarding the interrelation of literature, drawing and music, as well as the influence of this juxtaposition on the overflow of the traditional media boundaries.

The overall aim of this research is to describe and analyse the educational pathways from preschool to school of a group of children with and without special educational needs. The aim is also to describe and analyse children’s views and experiences of early years education, and how these can be obtained. The research comprises six studies that are presented in four articles and two conference papers. Longitudinal and multiple-case study designs, and mixed method approaches are adopted in the empirical studies, and the data is collected via observations, a questionnaire, documents, conversations and interviews with staff, children’s drawings and interviews with children. The results from the empirical studies show a variation of pathways to compulsory education; changes in activities and relationships in the transitions; a variation in preschool quality; a broad conceptualising of special educational needs; an application of comprehensive or specialised typologies in the educational settings; an undecided and cautious attitude toward inclusive education; an allocation of generous resources to specialised and segregated programmes; and a diversity of support provisions. The children report more positive than negative experiences of their early school years and pinpoint the importance of having a sense of belonging among peers; opportunities for creative play and thinking; experiences of speed, excitement and physical challenges; elements of cosiness, withdrawals and comfort for recreation; experiences of growth in knowledge and understanding of the world; feeling safe; feeling free and autonomous; and preventing homesickness in order to thrive. The results of the literature review are that the researchers may obtain data from children with and without special educational needs by means of traditional and innovative data collection methods. For broadening participation and sharing of views, the researchers may offer relational and material support. The thesis has relevance for researchers in the field of special education, inclusive education and early childhood education and care. It has also relevance for teacher training, policy makers and stakeholders, school heads, teachers and families. / <p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 6: Submitted.</p>

O objetivo geral da pesquisa consiste da ampliação do conhecimento acerca das características psicológicas das grávidas de primeiro e segundo filhos e, em especial, das diferenças existentes entre esses dois grupos, a fim de contribuir tanto para o aperfeiçoamento da utilização do Desenho da Figura Humana (DFH) e do Teste de Apercepção Temática (TAT) com grávidas, como contribuir para as suas assistências pré-natais. Para tanto, por meio de estudo exploratório, identificou-se características psicológicas observadas na primeira e na segunda gravidez, e comparou-se os dois grupos, cada um composto por 10 grávidas. Os dados foram coletados no Serviço de Obstetrícia do Hospital Universitário da Universidade de São Paulo através de entrevistas individuais semi-dirigidas e aplicação do DFH e das pranchas 1, 2, 7MF, 8MF e 16 do TAT. O material resultante foi analisado, principalmente em seus aspectos estruturais, sendo que os dados da entrevista tiveram função complementar neste processo. Realizou-se uma avaliação sistemática do DFH e do TAT a fim de contribuir para o aumento da confiabilidade no uso dessas técnicas. Os resultados foram exemplificados com o material clínico obtido. As características psicológicas das grávidas de primeiro filho apresentaram-se semelhantes entre si, porém diferentes das características psicológicas das grávidas de segundo filho, as quais, como no primeiro caso, também se apresentam similares. As ansiedades da primípara parecem mais ligadas às modificações biopsicossociais resultantes da gravidez, enquanto as características psicológicas na segunda gestação parecem estar influenciadas pelo amadurecimento obtido na experiência anterior de gravidez. Diante dos resultados, ressalta-se a importância do psicólogo conhecer as características psicológicas da primeira e da segunda gravidez, não só para a atuação clínica individual, mas também em equipe multiprofissional. Por fim, sugeriu-se investigação longitudinal para avanço do conhecimento sobre o tema. / The general aim of this research is to extend knowledge on the psychological characteristics of mothers who are pregnant with their first and second children and, more specifically, on the differences between these two groups, in order to contribute both to streamlining the use of Human Figure Drawing (HFD) and Thematic Apperception Test (TAT) with pregnant women, and also to contribute to their prenatal care. Therefore, by means of an exploratory study, this dissertation identified the psychological characteristics found in first and second pregnancies and makes a comparison of the two groups, each one comprised of 10 pregnant women. The data were gathered at the Obstetrics Service of the Hospital of the University of São Paulo, from individual, semi-structured interviews and the application of HFD and cards 1, 2, 7GF, 8GF and 16 of TAT. The results of the study were analised mainly in its structural aspects, and the interview data had complementary function in this process. A systematic evaluation method for HFD and TAT was made, as a means of contributing to improve the reliability of these techniques. The results were exemplified with the acquired clinical material. The psychological characteristics of first children pregnants were found similar, although different from psychological characteristics of second children pregnants, which were, as in the latter, equally found having similarities. The anxieties of the first pregnancy seem to be more associated with the biopsychosocial .

Uma representação retangular de um grafo plano G é uma representação de G, onde cada vértice é desenhado como um retângulo de modo que dois retângulos devem compartilhar algum segmento de seus lados se e somente se existe uma aresta em G entre os vértices correspondentes aos retângulos. Ainda, a representação de G deve formar um retângulo e não deve existir buracos, ou seja, toda região interna deve corresponder a algum vértice de G. Um desenho retangular de um grafo plano H é um desenho de H, onde todas as arestas são desenhadas como segmentos horizontais ou verticais. Ainda, todas as faces internas são retângulos e as arestas que incidem na face externa também formam um retângulo. Nesta dissertação, apresentamos os principais trabalhos existentes na literatura para problemas associados à representação retangular. Também apresentamos resultados para problemas associados ao desenho retangular. Por fim, apresentamos o algoritmo que desenvolvemos para determinar as coordenadas dos vértices de um desenho retangular quando a orientação das arestas já foram determinadas. / A rectangular representation of a plane graph G is a representation of G, where each vertex is drawn as a rectangle, such as two rectangles have to share some boundary if and only if exist an edge in G between the corresponding vertices. Also, the representation of G must form a rectangle and does not contain any holes, in other words, every point inside the formed rectangle must correspond to some vertex of G. A rectangular drawing of a plane graph H is a drawing of H, where all edges are drawn either in vertical or in horizontal. Also, every internal face is a rectangle and the edges which are incident in the external face define a rectangle. In this dissertation, we present the main studies in the literature for problems associated with the rectangular representation. We also present results for problems associated with rectangular drawing. Finally, we present the algorithm we developed to determine the coordinates of the vertices of a rectangular drawing when the orientation of the edges have been determined.

No meio acadêmico internacional, há décadas, discussões vem sendo empreendidas, especialmente pela Sociologia e pela Antropologia, em defesa de uma outra ciência possível, que considere plenamente as crianças como protagonistas e participantes da vida em sua totalidade, e, como desdobramento disso, em suas pesquisas. Mais recentemente, pesquisadores da Geografia vem se colocando nesta arena de vozes, como sujeitos enunciativos da Geografia da Infância, defendendo que as crianças não apenas estão no espaço geográfico ou o ocupam, mas, se apropriam dele, bem como o produzem. Neste ínterim, nos embrenhamos pelas sendas da Geografia da Infância, campo de estudo que está se constituindo no Brasil desde o início do presente século e, ao mesmo tempo, nunca estará constituído, porque processo feito COM as crianças, seres humanos plenos, impassíveis de catalogação. A pesquisa de doutorado que ora apresentamos foi realizada junto com vinte crianças moradoras do Bairro Dom Bosco, em Juiz de Fora - MG. Bairro que, conforme o Plano Diretor do município, é uma Área de Especial Interesse Social (AEIS), apresentando condições precárias de habitabilidade. Contudo, o Dom Bosco tem sido impactado, sensivelmente, pelo que chamamos de reestruturação capitalista do espaço, de modo mais contundente a partir da década de 1990 - com a instalação e ampliação de equipamentos urbanos segregacionistas e o aumento da especulação imobiliária. Em 2008, a população do bairro Dom Bosco viu de muito perto a inauguração do primeiro shopping de padrão luxuoso de Juiz de Fora, o Independência Shopping, bem em frente de suas portas e janelas (aqueles que as tem). O aparente progresso não conferiu ao Dom Bosco sair do rol dos bairros mais empobrecidos da cidade, continuando a ser um bairro de ausências relativas a infra-estruturas mínimas de habitabilidade. E, pelo contrário, a chegada do Shopping removeu a maior área de lazer pública a que a população do bairro Dom Bosco tinha acesso, a Curva do Lacet. Nossa entrada no bairro e os primeiros contatos com as crianças, pouco a pouco, foram nos encaminhando a uma problemática central de pesquisa: O que é o bairro Dom Bosco para as crianças que nele moram? Com seus desenhos, impregnados de suas falas pulsantes de suas vidas, as crianças nos possibilitaram alcançar nosso objetivo pautado em apreender as lógicas utilizadas por elas para delimitar o Dom Bosco delas. As crianças participantes nos mostraram que suas definições de bairro não se alinhavam aos limites político-administrativos do poder público e aos ditames das iniciativas privadas e nos levaram à busca de uma teoria que pudesse dialogar com o que elas nos revelaram. Disso, surgiu nossa aproximação com a teoria histórico-cultural de Lev Semionovitch Vigotski, que, certamente, desvela-se também espacial. Para além do escopo construído a priori, as crianças do bairro Dom Bosco nos apresentaram suas geografias, nos instigaram a pensar num conceito de Bairro- Vivência e, assim, contribuíram para o estado da arte da Geografia da Infância. / In the international academic world, for decades, discussions are being undertaken, especially in Sociology and Anthropology in defense of another possible science, which considers the children as protagonists and participants of life in its entirety, and as a extension that, in their research. More recently, geography researchers has been putting in this arena of voices as enunciative subject of Geography of Childhood, arguing that children are not only in the geographic space or occupy it, but that they also take possession of it, as well as they produce it . Meanwhile, we engage in the paths of Geography of Childhood, field of study that is forming in Brazil since the beginning of this century and at the same time it will never be fully complete because the process is being done WITH the children: full human beings, impassive of cataloging. The doctoral research presented here was conducted with twenty children living in the suburb of Dom Bosco, in Juiz de Fora-MG. According to the urban planning of the city, is a Special Area of Social Interest (AEIS), with precarious living conditions. However, Dom Bosco has been impacted significantly by what we call capitalist restructuring of space, more forcefully from the 1990s - with the installation and expansion of segregationist urban infrastructure and increasing property speculation. In 2008, the population of the Dom Bosco saw very closely the opening of the first luxury pattern shopping mall of Juiz de Fora, \"Independência Shopping\", right in front of your doors and windows (for those who have it). The apparent progress not allowed Dom Bosco leaves the ranks of the poorest neighborhoods of the city, continuing to be a region of absences on minimum infrastructure habitability. Instead, the arrival of the mall removed the largest public recreation area that the Dom Bosco neighborhood population had access, the Lacet curve. Our entry in the neighborhood and the first contacts with children, little by little, were directing us to a central problem of the research: What is the Dom Bosco neighborhood for children who live in it? With their drawings, impregnated with pulsating lines of their lives, the children enabled us to achieve our goal guided to grasp the logic used by them to delimit what Dom Bosco is for them . The participating children showed us that their neighborhood definitions are not aligned to political and administrative boundaries of government and the dictates of private initiatives and led us to search for a theory that could dialogue with what they showed us. Hence, it arose our approach to the historical-cultural theory of Lev Semionovitch Vygotsky, that certainly is revealed also spacial. Beyond the extents built a priori, Dom Bosco\'s neighborhood children presented us their geographies, inspiring us to think of a Neighborhood-Experience concept and thus contributed to the state of the art of Geography of Childhood.

Jean-Baptiste de Lagoy fut membre de la riche noblesse provençale. Dans l’hôtel familial d’Arles, il s’adonna au loisir lettré de la bibliophilie, et constitua la carte de ses savoirs. La Révolution le poussa hors de Provence. Il se réfugia à Paris, où il installa son cabinet rue Caumartin. En une vingtaine d’années, il acquit environ deux-mille cinq cents dessins. Dans un espace privé de sociabilité, Il revendiqua ses savoirs, et mit en place des critères, découlant d’une réflexion sur l’art, permettant de faire des attributions, et décider qui pouvait être admis dans leur cénacle. Il recherchait médailles, « beaux livres », et la possession de dessins. Au sein de ce cercle restreint, Lagoy rencontra ceux qui lui cédèrent des dessins de toutes les écoles, ceux qui vinrent lui rendre visite pour lui acheter des feuilles. Clarac, ami proche de Lagoy, critique d’art, s’appliqua, au travers de deux collections visitées à Paris, à définir, en cette fin du XVIIIe et début du XIXe siècle, la figure sociale du connaisseur. Ses collections devaient être classées, s’opposant à l’entassement, à la confusion de celles du curieux. Exprimer son goût, en terme de laid ou de beau, expérience esthétique, spontanée et subjective, de plaisir ou de déplaisir, fut la façon pour le connaisseur de livrer son expérience visuelle, face aux collections visitées. Lagoy, dans un Inventaire manuscrit, classa sa collection sur un mode historique et évolutif, mettant en exergue, son goût grâce à ses choix, le concept de « progrès des arts » cher aux théoriciens de l’époque, montrant qu’il participait à la recherche historique. / Jean-Baptiste de Lagoy (1764-1829), came from the rich Provence aristocracy. In his family manor at Arles, he devoted himself to the literary pastime of bibliophilia and built up his knowledge. He was forced out of Provence by the Revolution. He took refuge in Paris and organised his cabinet rue Caumartin. He acquired around 2,500 drawings in the space of twenty years. In a private sociable space, he demonstrated his expertise, and implements criteria, based on reflections on art which enabled attributions to be made, by way of comparison, and deciding who could be admitted into this circle. He bought medallions, "fine books", and drawings. Within this inner circle, Lagoy met people who sold him sheets of drawings from all the different schools and visitors who came to buy drawings from him. Clarac, one of Lagoy's close friends and an art critic, set out to establish the social figure of the connoisseur through two visited collections in Paris. His works had to be organised as opposed to the crowding together and confusion of the mere amateur collector. Expressing his taste, in terms of beauty and ugliness, the aesthetic, spontaneous, and subjective experience of pleasure or displeasure, was the way in which Clarac could express his visual experience when visiting the collections. Lagoy, in a handwritten inventory, classified his collection in terms of history and evolution, his taste informing his choices, and he highlighted the notion of "progress of the arts", a concept that was popular with theorists of the period, demonstrating how he was in tune with historical research.

Par son recours à diverses formes d’expression, Unica Zürn (1916-1970) redynamise l’espace de la feuille en le faisant activement participer à l’écriture de soi. Le « je » semble en effet se démultiplier grâce à des jeux « anagrammatiques » sur les divers signes mobilisés, qu’ils soient alphabétiques, picturaux ou musicaux. L’autoreprésentation s’inscrit alors au sein d’une œuvre pluridisciplinaire inusitée, qui renouvelle l’esthétique quelque peu « essoufflée » du mouvement surréaliste. Cette attitude vis-à-vis de la feuille, où plusieurs signes « décomposables » et « recomposables » se partagent l’espace, est observable tant dans l’œuvre littéraire que picturale d’Unica Zürn. Le processus de création par la lettre, le trait et la note de musique, tend à revaloriser le support matériel utilisé par l’effacement des frontières entre les disciplines artistiques, qui appelle un regard distancié du lecteur/spectateur sur l’œuvre. Afin d’interpréter les travaux de Zürn dans la pluralité des moyens artistiques qui y sont déployés, l’approche intermédiale sera favorisée. Dans le premier chapitre de ce mémoire, il s’agira d’abord de voir comment s’articule un certain dialogue entre le discours des chercheurs de l’intermédialité et l’œuvre d’Unica Zürn. Le rapport à l’objet sera notre porte d’entrée dans la matière intermédiale. Par un retour à la matérialité de l’expérience médiatique, nous constaterons que Zürn met à l’avant-scène les instruments et supports de la création, ce qui mène à une représentation distorsionnée de soi, de l’espace et du temps. Une fois le parallèle établi entre les concepts de l’intermédialité et les travaux de Zürn, nous nous concentrerons sur le pan musical de l’œuvre pluridisciplinaire de l’auteure-artiste. Le second chapitre traitera de l’intrusion du sonore dans l’univers textuel, qui se fera notamment par la réappropriation de l’opéra Norma, de Vincenzo Bellini. Cette réécriture s’intitule Les jeux à deux et prend une distance considérable par rapport au texte originel. Elle s’accompagne de dessins effectués par l’auteure-artiste à même les partitions de l’opéra. Le regard multiple posé sur l’œuvre zürnienne permettra de comprendre que l’écriture palimpseste participe du processus d’autoreprésentation, tout en élaborant un discours sur la rencontre entre littérature, dessin et musique, ainsi que sur l’influence de cette juxtaposition sur le débordement des frontières médiatiques traditionnelles. / Having recourse to many forms of expression, Unica Zürn (1916-1970) revitalizes the space of the sheet by having it take an active part in the individual writing. The “I” seems to increase thanks to “anagrammatic” games on the many mobilized signs, whether they are alphabetical, pictorial or musical. The self-representation is inspired by an unusual multidisciplinary work, which renews the aesthetics, somewhat “worn”, of the surrealist movement. This attitude towards the sheet, where many “decomposable” and “recomposable” signs share the space, is observable in Unica Zürn’s literary work as well as in her pictorial work. The process of creation through the letter, the stroke and the musical note tends to reassert the value of the material support used by the abolition of the boundaries among the artistic disciplines, which calls for a distanced look from the reader/spectator on the work. In order to interpret Zürn’s work in the plurality of the artistic means that are deployed, the intermedial approach will be favoured. In the first chapter of this dissertation, we will see how a certain dialog is structured between the views of the intermediality’s researchers and Unica Zürn’s work. The relation to objects will be our entry point in the intermedial subject. Through a return to the materiality of the media-related experience, we will notice that Zürn puts at the forefront the instruments and the supports to the creation, which leads to a contorted representation of oneself, space and time. Once the parallel established between the intermediality’s concepts and Zürn’s work, we will focus on the musical aspect of the author-artist’s multidisciplinary work. The second chapter will deal with the intrusion of sound in the textual universe, which will occur through the reappropriation of the Vincenzo Bellini’s opera “Norma”. This revising is called “Les jeux à deux” and is significantly different from the original text, and is paired with drawings made by the author-artist directly on the opera’s partitions. The multiple look placed upon the zurnian work will allow to understand that the palimpsest writing takes part in the self-representation process, through elaborating a view regarding the interrelation of literature, drawing and music, as well as the influence of this juxtaposition on the overflow of the traditional media boundaries.