Made available in DSpace on 2016-08-15T20:30:57Z (GMT). No. of bitstreams: 1 DanielSP_DISSERT.pdf: 1561196 bytes, checksum: b284038c0016d3ae3285d101b795f237 (MD5) Previous issue date: 2008-07-25 / Néctar; entomofauna; Merremia aegyptia / O objetivo deste trabalho foi o de investigar se os diferentes horários de coleta de néctar em áreas apícolas influenciam no volume, concentração de açúcar e açúcar total produzido por suas flores, no momento da antese, bem como verificar possíveis alterações nas características do néctar ao longo do tempo e discutir as conseqüências no potencial apícola das áreas de jitirana-branca (Merremia aegyptia). E ainda, a relação entre esta produção de atrativos florais e o comportamento dos polinizadores potenciais, dentre estes a Apis mellifera L. (abelha africanizada), e os requerimentos de polinização da jitirana branca. A pesquisa foi realizada em uma área de preservação de Caatinga, no Campus da FATEC Sertão Central, Quixeramobim-Ceará. Foi constatado que: A jitirana branca é uma cornucópia; sua densidade floral por m² foi em média 33,7 flores; apresentou ampla gama de visitantes florais (hymenopteros, coleópteros, hemípteros, dípteros, e pássaros); seu volume de néctar variou de acordo com o horário de coleta e não há reposição de néctar na flor após as 11:00 horas (A.M.); e a polinização mais eficiente corresponde a autopolinização.

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle. / The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.

Les gènes des doigts WIP-zinc provenaient de l'établissement de l'évolution rapide du clade Viridiplantae de bryophytes et ptéridophytes. Depuis les bryophytes ancestrales des premières plantes terrestres deux clades principaux ont evolveld, basé sur notre analyse cladistique de la partie C-terminale des WIP. Le thème commun et le caractère démontré par les protéines à doigts de zinc AtWIP sont mis en évidence par leurs découvertes dans des rôles régulateurs de croissance et de développement orgue. Cependant, la protéine moléculaire interagissant partenaires et les mécanismes par lesquels les fonctions de WIP sont orchestrés restent encore inconnues. Ici, nous montrons les interactions entre protéines moléculaires et des modes de localisation sub-cellulaire de CmWIP1 et ses interacteurs pour élucider son rôle de régulateur dans le sexe détermination Cucumis melo fleurs. Sur la base des interactions levures deux écran hybride de protéine-protéine de la banque d'ADNc de melon généré, nous déclarons que la protéine interagit physiquement CmWIP1 très fortement avec CmbZIP et CmLHP1. Aussi interaction n'a été observée avec le complexe CKII en C. melo qui se compose de CmCKIIα, CmCKIIβ1 et CmCKIIβ2 sous-unités. Approches de génétique inverse ont été utilisées pour tenter de valider fonctionnellement les interacteurs clés in planta. Le passage d'homme à fleurs femelles en traits gynoïques résultats de répression épigénétique de l'expression d'un facteur de doigt de zinc de type de transcription, CmWIP1 situé au niveau des loci g dans Cucumis melo. Lorsqu'elle est exprimée, CmWIP1 est responsable de l'avortement carpien entraînant simples fleurs mâles sexués d'une origine bisexuel initial. La surexpression de CmWIP1 (sous promoteur 35SCaMV) chez Arabidopsis thaliana a donné lieu à des plantes présentant un retard de croissance global du-et-dessus des parties sous-sol plantes, feuilles dentelées vrais, des anomalies de croissance floraux et sillique ainsi que médiocre rendement des semences. 35S: CmWIP1 lignées d'insertion développés ont été surveillés en permanence et phénotypées sur T1 à T4 générations pour la stabilité de la dentelure phénotype feuilles. Fait intéressant, deux autres lignes sur-expression portant AtWIP1 et AtWIP2 causés dentelures des feuilles semblables à celles de CmWIP1 surexpression tout sous promoteurs 35SCaMV. Deux lignées stables homozygote pour 35S: CmWIP1 insertion ont été sélectionnés à la génération T4 et muté à 0,3% EMS. Un millier de vracs lignées familiales m2 (5 plants par vrac) ont été examinés pour les personnes réversion avec des feuilles non dentelée et taux de croissance restaurés. Écrans stade végétatif révélé deux révertants putatifs et 7% albinos. Les écrans suivants pour révertants ont été réalisées à des stades de reproduction et également pour les essais de la longueur des racines primaires ont été réalisées afin de valider révertants putatifs. Révertants putatifs familles ont encore été validés en tant que candidats pour la cartographie suppresseur par séquençage Sanger de la 35S :: CmWIP1 insertion par le dépistage de la séquence des mutations qui pourraient être la mutation causale. / The WIP-zinc finger genes originated from the early evolutionary establishment of the Viridiplantae clade from bryophytes and pteridophytes. From the ancestral bryophytes the first terrestrial plants two main clades have evolveld, based on our cladistic analysis of the C-terminal part of the WIPs. From the in silico analysis, CmWIP1 encodes are largely bi-partite protein in nature with the N-terminal acquired for protein-protein interactions whilst the C-terminal part is possibly mainly for DNA binding and some unknown processes involved in chromatin modulation/regulation (the presence of POST-SET domains). The common theme and character demonstrated by the AtWIP-Zinc finger proteins are highlighted by their discoveries in regulatory roles of organ growth and development. However, the molecular protein interacting partners and mechanisms by which the WIP functions are orchestrated still remain unknown. Here we show molecular protein interactions and sub-cellular localization patterns of CmWIP1 and its interactors to elucidate its regulatory role in the sex determination Cucumis melo flowers. Based on the protein-protein interactions yeast two hybrid screen of the melon cDNA library generated, we report that CmWIP1 protein physically interacts very strongly with CmbZIP and CmLHP1. Also interactions were observed with the CKII complex in C. melo which is made up of CmCKIIα, CmCKIIβ1 and CmCKIIβ2 subunits. CmWIP1 also interacts with CmTHF1 and CmPTR. Reverse genetic approaches were utilized in attempts to functionally validate the key interactors in planta. The transition from male to female flowers in gynoecious lines results from epigenetic repression of the expression of a zinc finger type transcription factor, CmWIP1 located at the g loci in Cucumis melo. When expressed, CmWIP1 is responsible for carpel abortion resulting in single sexed male flowers from an initial bisexual origin. Over-expression of CmWIP1 (under 35SCaMV promoter) in Arabidopsis thaliana resulted in plants with overall growth retardation of above- and under-ground plant parts, serrated true leaves, floral and sillique growth abnormalities as well as poor seed yield. 35S:CmWIP1 insertion lines developed were continuously monitored and phenotyped over T1 to T4 generations for stability of the leaf serration phenotype. Interestingly, two other over-expression lines carrying AtWIP1 and AtWIP2 caused leaf serrations similar to that of CmWIP1 overexpression all under 35SCaMV promoters. Two stable lines homozygote for 35S:CmWIP1 insertion were selected at the T4 generation and mutagenized with 0.3 % EMS. A thousand bulks of M2 family lines (5 plants per bulk) were screened for revertant individuals with unserrated leaves and restored growth rates. Vegetative stage screens revealed both putative revertants and 7 % albinos. Subsequent screens for revertants were carried out at the reproductive stages and also for primary root length assays were carried out to validate putative revertants. Putative revertants families were further validated as candidates for suppressor mapping via Sanger sequencing of the 35S::CmWIP1 insert by screening of the sequence for mutations which could be the causative mutation.

The thesis looks at the Czech life of the Flowers for Algernon short story written by Daniel Keyes. It aims to present an analytical comparison of the short story translations and dramatizations created in the Czech cultural environment and to define their invariants. The theoretical part of the thesis informs the reader about the life and work of Daniel Keyes and depicts the process of creation of the short story in question. Furthermore, it outlines its main themes and stylistic features, as well as its reception both in the U. S. and abroad. Special attention is paid to the reception in Czechoslovakia, or rather the Czech Republic, namely to the two short story translations (Černý, 1976; Markus, 2003) and the three original dramatizations (Říhová, 1988; Hruška, 1993; Heger, 2010). All pieces of work are presented in their broader socio-cultural context, with due regard to their authors. This contextualisation lays the foundations for the subsequent translatological analysis, which is based on Gideon Toury's descriptive model (1995). In accordance with Toury, the Czech short stories are seen as products of the target culture. Therefore, the assumed translations are first assessed in terms of their acceptability in this culture and these hypotheses are then tested by means of comparison of...

O estado de São Paulo é responsável por 70% da produção nacional de flores e plantas ornamentais. Esses cultivos ocupam 7,5 mil hectares e mais da metade desta área é cultivada em estufas. Atualmente existem aproximadamente 8 mil produtores de pequeno, médio e grande porte em todo Brasil e este setor gera em torno de 200 mil empregos diretos, abrangendo produção e comércio. As estufas são microcosmos planejados para propiciar as condições ambientais adequadas ao crescimento de plantas. Qualquer infestação é controlada usando praguicidas que, devido ao enclausuramento e ajustes das condições climáticas, podem prolongar e intensificar a exposição ocupacional aos mesmos. Alguns estudos sugerem que os trabalhadores de estufas de flores e plantas ornamentais estão expostos a níveis mais elevados de praguicidas durante o carregamento, mistura e aplicação dos praguicidas, bem como pelo contato contínuo com as flores e plantas ornamentais, quando comparados a outros trabalhadores que entram em contato com essa classe de compostos. No presente trabalho, objetivou-se conhecer o processo de trabalho, práticas de saúde, higiene e segurança e localizar possíveis fontes de exposição ocupacional a praguicidas nas estufas de flores da região do Alto Tietê, e também otimizar métodos analíticos para a detecção e quantificação de praguicidas organofosforados (diclorvós, metil-paration e metidation) em patches de algodão e em tubos coletores XAD-2, com o intuito de analisar a exposição ocupacional dérmica e inalatória. O processo de avaliação incluiu o acompanhamento da jornada de trabalho, entrevistas e aplicação de questionários de trabalhadores de 18 estufas. Destas 18 foram selecionadas 6 estufas para coleta de amostras. Os organofosforados diclorvós, metidation e metilparation foram detectados e quantificados por cromatografia gasosa/espectrometria de massas (GC-MS), operado no modo de ionização por impacto de elétrons. Os dados da avaliação qualitativa demonstraram percentual elevado de desconhecimento das práticas adequadas de saúde, higiene e segurança para a utilização destes compostos, sugerindo que há risco de exposição durante a manipulação, armazenamento e descarte dos mesmos. Os limites de quantificação (LQ) obtidos foram abaixo de 0,4 ng/mL e limites de detecção (LD) foram abaixo de 0,1 ng/mL para todos os compostos. O método mostrou boa linearidade na concentração estudada (LSQ-500 ng/mL), com coeficiente (r) maior que 0,99. A precisão foi avaliada pelo desvio padrão relativo e apresentou valores inferiores a 15% para todos os compostos estudados. Após os métodos serem validados, foi realizada a amostragem dérmica e do ar e encontraram-se concentrações variadas de praguicidas. / The state of São Paulo - Brazil, accounts for 70% of domestic production of flowers and ornamental plants. Currently, these crops occupy 7.5 thousand hectares and over 50% of this area is cultivated in greenhouses. This market has an average of 8.000 producers and generates around 200.000 jobs. Greenhouses are microcosms designed to provide environmental conditions suitable for plant growth. Infestation is controlled using pesticides that due to the closure and adjustment to the weather conditions can prolong and intensify the exposure to them. Some studies suggest that workers in greenhouses of flowers and ornamental plants are exposed to higher levels of pesticides during loading, dilution and application, as well as by continuous contact with flowers and ornamental plants, when compared to other workers who enter in contact with this class of compounds. The aim of the present was to know the work process, to survey the practices of health, hygiene and safety standards and locate possible sources of occupational exposure to pesticides in greenhouses of flowers in the Alto Tietê region (São Paulo state), and to optimize analytical methods for detection and quantification of organophosphate pesticides (dichlorvos, methyl parathion and methidathion) in patches of cotton and in XAD-2 sorbent tubes, with the aim of analyzing the occupational dermal and inhalation exposure. The evaluation process included the monitoring of the working day, interviews and questionnaires, and samples collected in greenhouses. The organophosphorus compounds were detected and quantified by gas chromatography/mass spectrometry (GC-MS) operated in electron impact ionization. The data show a high percentage of lack of appropriate health practices, hygiene and safety for pesticide use suggests that there is risk of exposure during handling, storage and disposal of them. The limits of quantification (LOQ) obtained were below 0.4 ng/mL and limits of detection (LOD) were below 0.1 ng/mL for all compounds. The method showed good linearity in the studied concentration (LOQ-500 ng/mL), with coefficient (r) greater than 0.99. The precision was evaluated by relative standard deviation and showed values below 15% for all compounds studied. After the methods are validated, the dermal and air sampling was performed and a great range of pesticide concentrations was found. So it is evident that this study is valuable for future analysis and guidance to workers about possible hazards and proper use for reducing exposure to these compounds.

La présente thèse cherche à étudier l’histoire de la réception et de la présence de Charles Baudelaire dans l'univers poétique de l'hébreu moderne, à travers l'influence de son œuvre sur la création poétique en hébreu comme à travers les traductions hébraïques de sa poésie. Cette dernière partie inclut une analyse comparative approfondie de différentes traductions de la poésie de Baudelaire parues en hébreu au courant du XXe siècle.À travers cette approche nous cherchons à voir dans quelle mesure il existe des corrélations entre la traduction et la réception poétique de Baudelaire d'une part, et l'évolution particulièrement rapide du langage poétique de l'hébreu moderne d'autre part.Dans toutes les générations de la poésie de l’hébreu moderne, des auteurs majeurs ont traduit Baudelaire. Ce grand intérêt pour sa poésie s'explique, entre autres raisons, par le motif suivant : traduire Baudelaire en hébreu constitue un projet singulier de par le statut unique de son œuvre qui est à la fois la pierre angulaire de la Modernité poétique en général, et le point de départ de la poésie hébraïque moderne en particulier.La poésie hébraïque moderne peut être comparée à un arbre sans tronc ; ses racines, les textes de l'hébreu classique, sont profondes et séculaires. Sa cime, la nouvelle création poétique des 120 dernières années, est fraîche et verdoyante. Mais s'il tient debout, c'est grâce à ses branches qui sont suspendues sur les riches ramifications de ses voisins – les corpus poétiques étrangers qui ont toujours alimenté ce jeune corpus. Traduire Baudelaire en hébreu moderne, c'est – symboliquement – contribuer à greffer, rétroactivement, un tronc sur cet arbre. / This thesis examines the history of the reception and of the immanence of Charles Baudelaire in Modern Hebrew poetry through the influence of his work on original poetic work in Hebrew and through the translations of his poems into Hebrew. As part of the latter, a detailed comparative analysis is offered of some of Baudelaire’s poems translated into Hebrew and published through the 20th century.In examining these questions we wish to examine the extent to which one may trace a correlation between, on the one hand, the translation and reception of Baudelaire’s poetry and, on the other hand, the exceptionally rapid evolution of Modern Hebrew poetic language.In every generation of Modern Hebrew poetry, Baudelaire was translated by major authors. This significant interest in his poetry can be attributed, among other reasons, to the constructive role that such translation plays in Hebrew. For, in the Hebrew context, Baudelaire's poetry has a unique role: he is both a keystone of Modern poetry in general and the starting point of Modern Hebrew poetry in particular.Modern Hebrew poetry can be compared to a tree without a trunk: Its roots – the classical Hebrew texts – are ancient and deep. Its crown – the New Hebrew creation of the last 120 years – is fresh and green. But what keeps it standing are its branches that lean on the rich offshoots of its neighbours in the forest: the foreign poetic corpora which have always nourished this young literature, born modern. Translating Baudelaire into Modern Hebrew implies, symbolically, a contribution to the retrospective grafting of a trunk to the tree.

O estado de São Paulo é responsável por 70% da produção nacional de flores e plantas ornamentais. Esses cultivos ocupam 7,5 mil hectares e mais da metade desta área é cultivada em estufas. Atualmente existem aproximadamente 8 mil produtores de pequeno, médio e grande porte em todo Brasil e este setor gera em torno de 200 mil empregos diretos, abrangendo produção e comércio. As estufas são microcosmos planejados para propiciar as condições ambientais adequadas ao crescimento de plantas. Qualquer infestação é controlada usando praguicidas que, devido ao enclausuramento e ajustes das condições climáticas, podem prolongar e intensificar a exposição ocupacional aos mesmos. Alguns estudos sugerem que os trabalhadores de estufas de flores e plantas ornamentais estão expostos a níveis mais elevados de praguicidas durante o carregamento, mistura e aplicação dos praguicidas, bem como pelo contato contínuo com as flores e plantas ornamentais, quando comparados a outros trabalhadores que entram em contato com essa classe de compostos. No presente trabalho, objetivou-se conhecer o processo de trabalho, práticas de saúde, higiene e segurança e localizar possíveis fontes de exposição ocupacional a praguicidas nas estufas de flores da região do Alto Tietê, e também otimizar métodos analíticos para a detecção e quantificação de praguicidas organofosforados (diclorvós, metil-paration e metidation) em patches de algodão e em tubos coletores XAD-2, com o intuito de analisar a exposição ocupacional dérmica e inalatória. O processo de avaliação incluiu o acompanhamento da jornada de trabalho, entrevistas e aplicação de questionários de trabalhadores de 18 estufas. Destas 18 foram selecionadas 6 estufas para coleta de amostras. Os organofosforados diclorvós, metidation e metilparation foram detectados e quantificados por cromatografia gasosa/espectrometria de massas (GC-MS), operado no modo de ionização por impacto de elétrons. Os dados da avaliação qualitativa demonstraram percentual elevado de desconhecimento das práticas adequadas de saúde, higiene e segurança para a utilização destes compostos, sugerindo que há risco de exposição durante a manipulação, armazenamento e descarte dos mesmos. Os limites de quantificação (LQ) obtidos foram abaixo de 0,4 ng/mL e limites de detecção (LD) foram abaixo de 0,1 ng/mL para todos os compostos. O método mostrou boa linearidade na concentração estudada (LSQ-500 ng/mL), com coeficiente (r) maior que 0,99. A precisão foi avaliada pelo desvio padrão relativo e apresentou valores inferiores a 15% para todos os compostos estudados. Após os métodos serem validados, foi realizada a amostragem dérmica e do ar e encontraram-se concentrações variadas de praguicidas. / The state of São Paulo - Brazil, accounts for 70% of domestic production of flowers and ornamental plants. Currently, these crops occupy 7.5 thousand hectares and over 50% of this area is cultivated in greenhouses. This market has an average of 8.000 producers and generates around 200.000 jobs. Greenhouses are microcosms designed to provide environmental conditions suitable for plant growth. Infestation is controlled using pesticides that due to the closure and adjustment to the weather conditions can prolong and intensify the exposure to them. Some studies suggest that workers in greenhouses of flowers and ornamental plants are exposed to higher levels of pesticides during loading, dilution and application, as well as by continuous contact with flowers and ornamental plants, when compared to other workers who enter in contact with this class of compounds. The aim of the present was to know the work process, to survey the practices of health, hygiene and safety standards and locate possible sources of occupational exposure to pesticides in greenhouses of flowers in the Alto Tietê region (São Paulo state), and to optimize analytical methods for detection and quantification of organophosphate pesticides (dichlorvos, methyl parathion and methidathion) in patches of cotton and in XAD-2 sorbent tubes, with the aim of analyzing the occupational dermal and inhalation exposure. The evaluation process included the monitoring of the working day, interviews and questionnaires, and samples collected in greenhouses. The organophosphorus compounds were detected and quantified by gas chromatography/mass spectrometry (GC-MS) operated in electron impact ionization. The data show a high percentage of lack of appropriate health practices, hygiene and safety for pesticide use suggests that there is risk of exposure during handling, storage and disposal of them. The limits of quantification (LOQ) obtained were below 0.4 ng/mL and limits of detection (LOD) were below 0.1 ng/mL for all compounds. The method showed good linearity in the studied concentration (LOQ-500 ng/mL), with coefficient (r) greater than 0.99. The precision was evaluated by relative standard deviation and showed values below 15% for all compounds studied. After the methods are validated, the dermal and air sampling was performed and a great range of pesticide concentrations was found. So it is evident that this study is valuable for future analysis and guidance to workers about possible hazards and proper use for reducing exposure to these compounds.

The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.

Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte est peu commune dans la peinture française du 17e siècle. Il est donc nécessaire de vérifier s’il existe un lien entre les fleurs, l’image de Louis XIV et l’armure. Ensuite, le contraste entre la polychromie des fleurs et la monochromie de la sculpture et de l’ameublement est frappante ; il est possible de lier ce contraste au phénomène des débats entre le dessin et la couleur de l’Académie royale de peinture et de sculpture à la deuxième moitié du 17e siècle. D’ailleurs, les fleurs, qui n’étaient pas le sujet central dans le programme original de Le Brun, deviennent le sujet principal du tableau et occupent une place plus importante que le buste de Louis XIV. Cette modification n’a cependant pas choqué les juges de l’Académie puisque la toile a été acceptée sans contestation. Elle amène donc à s’interroger sur la hiérarchie des genres de peinture qui est la doctrine officielle de l’Académie royale de peinture et de sculpture de l’époque. Le noyau de la recherche consiste à vérifier si les fleurs n’occupent qu’une simple fonction décorative ou si elles peuvent être associées à des symboles. Notre recherche examine d’abord l’utilisation des symboles floraux dans la culture française du 17e siècle. Par la suite, elle étudie cette utilisation dans le domaine politique, à savoir que les fleurs pourraient être liées à la louange de Louis XIV. Enfin, elle analyse les domaines artistiques et esthétiques, c’est-à-dire la façon dont le tableau reflète, par l’utilisation des symboles floraux, l’évolution des théories de l’art, la hiérarchie des genres de peinture et les débats du dessin et de la couleur, en France, durant la deuxième moitié du 17e siècle. / The painting by Jean-Baptiste Belin de Fontenay, Vase d’or, fleurs et buste de Louis XIV, is a reception piece of the french academician painter to the Académie royale de peinture et de sculpture in 1687. Unfortunately having been little studied, this painting reveals three very interesting issues. First of all, it contain three kind of painting in one composition: still life, portrait and history painting, illustrated respectively by the flowers, the bust of Louis XIV and the piece of armor. The combination of these three types in a still life is uncommon in the 17th century French painting. It is therefore necessary to check if there is a link between the flowers, the picture of Louis XIV and the armor. Then, the contrast between the polychrome of the flowers and the monochrome of the sculpture and furniture is striking, it is possible to associate this contrast to the phenomenon of the debates between drawing and color of the Académie royale de peinture et de sculpture during the second half of the 17th century. Moreover, the flowers, which were not the central subject in the original program of Le Brun, become the main subject of the table and occupy a more important place than the bust of Louis XIV. This change has not shocked the judges of the Academy since the painting was accepted without question. It therefore leads to think about the hierarchy of genres of painting, which was the official doctrine of the Académie royale de peinture et de sculpture at the time. The core of this research is to see if the flowers occupy a mere decorative function, or whether they may be associated with symbols. Our research will verify the employ of floral symbols in French culture of the 17th century and then developed this employ not only in the political field, which means the flowers are in praise of Louis XIV, but also in the aesthetics domain, that is to say how the painting reflects by employing floral symbols the evolution of the theories of art in France during the second half of the 17th century, the hierarchy of genres of painting and the debates between drawing and color.

Bien que le scandale qui a accompagné la publication des Fleurs du mal ne soit plus un obstacle à leur diffusion, il continue à jouer un rôle dans la lecture de l’oeuvre de Baudelaire : le XXe siècle a fait du poète l’archétype de l’artiste censuré. En analysant la réévaluation de l’oeuvre de Baudelaire et la manière dont certaines Fleurs du mal ont été mises à distance, notre étude vise à faire l’histoire de la fortune du poète après le processus d’institutionnalisation qui a fait de lui un classique à la fin des années 1920. Nous nous intéressons au rituel de la commémoration littéraire à travers l’analyse d’un corpus d’articles et d’ouvrages publiés lors de trois anniversaires : le centenaire du procès des Fleurs du mal, celui de la mort de Baudelaire et le cent-cinquantenaire du même procès. Nous envisageons également la fortune littéraire de Baudelaire en France à partir de 1930, date à laquelle son oeuvre est considérée comme l’origine de la poésie moderne. Une analyse critique de la notion d’influence permet de réévaluer le statut du poète, à la fois modèle et antimodèle pour Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud ou André du Bouchet, et de montrer que son apparent oubli, entre le centenaire de 1967 et les années 1990, est suivi d’un retour au lyrisme de La Cloche fêlée. Nous voulons enfin montrer que la patrimonialisation de l’oeuvre de Baudelaire n’a pas été suivie d’une complète intégration à la culture nationale : la « survie culturelle » de Baudelaire à travers les adaptations de son oeuvre, ses biographies ou ses portraits ne s’inscrit pas dans un processus de panthéonisation mais dans un culte multiforme de l’écrivain, résultat de l’institutionnalisation du scandale. / While the scandal raised by the publication of Les Fleurs du mal is no longer an obstacle to the diffusion of the book, it still plays a role in the reading of Baudelaire: the 20th century made the poet into the archetype of the censored artist. By investigating the re-evaluation of Baudelaire’s work and the rejection of some Fleurs du mal, my study aims at accounting for the history of Baudelaire’s fortune after the institutionalization process that made him a classic, in the late 1920’s. I am interested in the ritual of the literary commemoration, through the analysis of a collection of articles and of works published during three anniversaries: the centenary of Les Fleurs du mal’s trial, the one of Baudelaire’s death and the one hundred and fifty years anniversary of the same trial. I also consider Baudelaire’s literary fortune in France since 1930, a time where his work began to be seen as the origin of modern poetry. A critical analysis of the notion of “influence” makes it possible to re-evaluate the poet’s status – he is at the same time a model and an anti-model for Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud or André du Bouchet – and to show that his apparent disappearance between the 1967 centenary and the early 1990s is followed by a return of La Cloche fêlée’s lyric. I finally want to show that the patrimonialization of Baudelaire’s work was not followed by its complete integration to national culture: the “cultural survival” of Baudelaire through his works’ adaptations, his biographies or his portraits does not belong to a pantheonization process, but to a multifaceted cult of the writer, resulting from the scandal’s institutionalization.