Ce mémoire de maîtrise présente les travaux liés au développement d’une technologie permettant de faciliter la conceptualisation des nouveaux outils de biologie moléculaire. Cette nouvelle technique est centrée sur la détection d’acides nucléiques et a été développée dans un contexte de diagnostic des maladies infectieuses. Ce mémoire est centré sur deux principales techniques : la PCR en temps réel (rtPCR) et l’hybridation sur biopuce. Notre technologie permet la réalisation de ces deux réactions biochimiques complexes dans une même chambre réactionnelle et dans un seul et même tampon, ceci à l’aide d’un oligonucléotide structuré. Le premier chapitre décrit les différentes techniques de rtPCR et les différents paramètres d’hybridation sur biopuce. Les principes directeurs de la recherche sont présentés dans le deuxième chapitre. Le troisième chapitre comporte le manuscrit démontrant la faisabilité de notre nouvelle technologie. Finalement, le quatrième chapitre discute des perspectives du projet.

Esta tese de Doutorado apresenta a trilogia ÚTERO COSMOS (Útero portanto Cosmos), de minha autoria (Agnus Valente), como resultado de uma praxis criativa híbrida desenvolvida na linha de pesquisa em Poéticas Visuais, acompanhada de um texto reflexivo de metalinguagem sobre as operações de hibridação de Meios produtivos, de Sistemas artísticos e de Poéticas, que foram empreendidas para a constituição do corpus artístico, e propõe três contribuições teóricas para os estudos dos Métodos Heurísticos da Criação os novos conceitos de hibridação intersensorial, hibridação intertextual-semiótica e hibridação interformativa, cuja abrangência permite aplicá-los não somente à arte digital, mas também a diversos campos da criação artística. Concebido em março de 2002, o sky-art interativo ÚTERO COSMOS propõe uma metáfora constelativa em ambiente digital. Não se limitando ao hibridismo como tema, explora em sua criação a potencialidade híbrida do suporte, envolvendo Poéticas Digitais, Poesia Concreta, Intertextualidade, Tradução Intersemiótica e Interatividade, como fatores que propiciam hibridações. O projeto foi desenvolvido on-line, no site oficial agnusvalente.com numa estrutura simultânea de work in process e work in progress, em três edições intituladas Gestação On-Line (2003), Constelações (2005) e Expansões (2008), nas quais as obras e versões do processo de criação foram cumulativamente preservadas. Como autor-propositor, engajei ao projeto o artista multimídia Nardo Germano, meu irmão gêmeo com quem compartilho minhas hibridações poéticas inaugurais, bem como os mestres da Poesia Concreta Augusto de Campos, Décio Pignatari, Haroldo de Campos e Ronaldo Azeredo e meus mestres das Artes Visuais Carmela Gross, Julio Plaza e Regina Silveira artistas que influenciaram minha produção e cujas poéticas são validadas em minha poética pessoal por afinidades e filiações artísticas profundas. A partir da praxis artística, concebi os conceitos de hibridação intersensorial, hibridação intertextual-semiótica e hibridação interformativa, conforme sua predominância nas operações implementadas na criação. No que tange à hibridação de Meios, reconheço no meio digital, eleito para o desenvolvimento deste projeto, uma hibridação intersensorial caracterizada pela articulação conjunta de informações de ordem visual, tátil, cinética, sonora etc. Quanto à hibridação de Sistemas, que neste projeto funda-se na hibridez da Poesia Concreta entre Literatura e Artes Visuais, formulo o conceito de hibridação intertextualsemiótica concebido na acepção do termo texto expandido do código verbal ao visual e a outros sistemas sígnicos (Kristeva, Bense, Peirce), embasado numa intertextualidade poética ou crítica (Perrone-Moysés) e na tradução intersemiótica (Jakobson, Plaza). No que se refere à hibridação de Poéticas consideradas como movimentos artísticos históricos e/ou poéticas pessoais as operações envolvem respectivamente hibridação intertextual-semiótica e o que denomino de hibridação interformativa, esta formulada a partir do conceito de formatividade (Pareyson), perceptível tanto no âmbito da produção, em criações co-autorais, traduções intersemióticas, influências e/ou diálogos artísticos; quanto no âmbito da recepção, em obras interativas que absorvem a formatividade do interator. Concluindo, a unidade das hibridações operadas em ÚTERO COSMOS funda-se na minha poética híbrida e, mais particularmente, na unidade formativa do meu próprio ser como pessoa que me define como um artista sintetizador portanto híbrido sintonizado a um projeto poético à luz de uma metáfora constelativa da Arte. / This thesis of Doctorate presents the trilogy ÚTERO COSMOS (Uterus therefore Cosmos), of my authorship (Agnus Valente), as a result of a hybrid creative praxis that was developed in a Visual Poetics Research, complemented by a reflexive study of metalanguage about the hybridation operations of the productive Media, artistic Systems and Poetics, that were undertaken for the constitution of its artistic corpus, and also proposes three theoretical contributions to the studies of the Heuristic Methods of Creation the innovative concepts of intersensorial hybridation, intertextual-semiotic hybridation and interformative hybridation whose amplitude allow us to apply them not only in the digital art but also in many fields of the artistic creation. ÚTERO COSMOS is an interactive sky-art, conceived in March of 2002, that proposes a constellative metaphor in the digital environment. The project, not limited to the hybridism as theme, explores creatively the hybrid potentiality of the support, involving Digital Poetics, Concrete Poetry, Intertextuality, Intersemiotic Translation and Interactivity as factors propitious to hybridations. The project was developed on-line (official site agnusvalente.com) in a structure of both work in process and work in progress, in three editions titled On-line Gestation (2003), Constellations (2005) and Expansions (2008), in which the artworks and the versions of its creation process were cumulatively preserved. As author-proposer, I engaged to the project the multimedia artist Nardo Germano, my twin brother with whom I share my inaugural hybridation of poetics, as well as the masters of the Concrete Poetry Augusto de Campos, Décio Pignatari, Haroldo de Campos and Ronaldo Azeredo and my masters of the Visual Arts Carmela Gross, Julio Plaza and Regina Silveira artists who influenced my production and whose poetics are validated, in my personal poetics, by deep artistic affinities and filiations. Starting from the artistic praxis, I conceived the concepts of intersensorial hybridation, intertextual-semiotic hybridation and interformative hybridation, organized according to the predominant occurrence in the creative operations. With respect to the hybridation of Media, I recognize in the digital medium, which I elected to develop this project, an intersensorial hybridation characterized by the simultaneous articulation of visual, tactile, kinetics and audio information. As for the hybridation of Systems, founded on the hybridity of the Concrete Poetry that mixes Literature and Visual Arts, I formulate the concept of intertextual-semiotic hybridation, that employes the meaning of the term text expanded from the verbal to the visual codes and other signs systems (Kristeva, Bense, Peirce), based on poetic or critical intertextuality (Perrone-Moysés) and on intersemiotic translation (Jakobson, Plaza). Concerning to the hybridation of Poetics as historical artistic movements and/or personal poetics the operations involve respectively intertextua l-semiotic hybridation and the operation which I denominate as interformative hybridation, this one formulated according to the concept of formativity (Pareyson), perceptible in the production ambit (co-authorial creations, intersemiotic translations, influences and/or artistic dialogues) and in the reception ambit (interactive artworks that absorb the interactors formativity). Concluding, the unity of the operated hybridations in ÚTERO COSMOS is founded on my hybrid poetics and, particularly, on my own formative unity as a person that defines me as a synthesizer artist therefore hybrid syntonized with a poetic project by the light of a constellative metaphor of Art.

Esta tese de Doutorado apresenta a trilogia ÚTERO COSMOS (Útero portanto Cosmos), de minha autoria (Agnus Valente), como resultado de uma praxis criativa híbrida desenvolvida na linha de pesquisa em Poéticas Visuais, acompanhada de um texto reflexivo de metalinguagem sobre as operações de hibridação de Meios produtivos, de Sistemas artísticos e de Poéticas, que foram empreendidas para a constituição do corpus artístico, e propõe três contribuições teóricas para os estudos dos Métodos Heurísticos da Criação os novos conceitos de hibridação intersensorial, hibridação intertextual-semiótica e hibridação interformativa, cuja abrangência permite aplicá-los não somente à arte digital, mas também a diversos campos da criação artística. Concebido em março de 2002, o sky-art interativo ÚTERO COSMOS propõe uma metáfora constelativa em ambiente digital. Não se limitando ao hibridismo como tema, explora em sua criação a potencialidade híbrida do suporte, envolvendo Poéticas Digitais, Poesia Concreta, Intertextualidade, Tradução Intersemiótica e Interatividade, como fatores que propiciam hibridações. O projeto foi desenvolvido on-line, no site oficial agnusvalente.com numa estrutura simultânea de work in process e work in progress, em três edições intituladas Gestação On-Line (2003), Constelações (2005) e Expansões (2008), nas quais as obras e versões do processo de criação foram cumulativamente preservadas. Como autor-propositor, engajei ao projeto o artista multimídia Nardo Germano, meu irmão gêmeo com quem compartilho minhas hibridações poéticas inaugurais, bem como os mestres da Poesia Concreta Augusto de Campos, Décio Pignatari, Haroldo de Campos e Ronaldo Azeredo e meus mestres das Artes Visuais Carmela Gross, Julio Plaza e Regina Silveira artistas que influenciaram minha produção e cujas poéticas são validadas em minha poética pessoal por afinidades e filiações artísticas profundas. A partir da praxis artística, concebi os conceitos de hibridação intersensorial, hibridação intertextual-semiótica e hibridação interformativa, conforme sua predominância nas operações implementadas na criação. No que tange à hibridação de Meios, reconheço no meio digital, eleito para o desenvolvimento deste projeto, uma hibridação intersensorial caracterizada pela articulação conjunta de informações de ordem visual, tátil, cinética, sonora etc. Quanto à hibridação de Sistemas, que neste projeto funda-se na hibridez da Poesia Concreta entre Literatura e Artes Visuais, formulo o conceito de hibridação intertextualsemiótica concebido na acepção do termo texto expandido do código verbal ao visual e a outros sistemas sígnicos (Kristeva, Bense, Peirce), embasado numa intertextualidade poética ou crítica (Perrone-Moysés) e na tradução intersemiótica (Jakobson, Plaza). No que se refere à hibridação de Poéticas consideradas como movimentos artísticos históricos e/ou poéticas pessoais as operações envolvem respectivamente hibridação intertextual-semiótica e o que denomino de hibridação interformativa, esta formulada a partir do conceito de formatividade (Pareyson), perceptível tanto no âmbito da produção, em criações co-autorais, traduções intersemióticas, influências e/ou diálogos artísticos; quanto no âmbito da recepção, em obras interativas que absorvem a formatividade do interator. Concluindo, a unidade das hibridações operadas em ÚTERO COSMOS funda-se na minha poética híbrida e, mais particularmente, na unidade formativa do meu próprio ser como pessoa que me define como um artista sintetizador portanto híbrido sintonizado a um projeto poético à luz de uma metáfora constelativa da Arte. / This thesis of Doctorate presents the trilogy ÚTERO COSMOS (Uterus therefore Cosmos), of my authorship (Agnus Valente), as a result of a hybrid creative praxis that was developed in a Visual Poetics Research, complemented by a reflexive study of metalanguage about the hybridation operations of the productive Media, artistic Systems and Poetics, that were undertaken for the constitution of its artistic corpus, and also proposes three theoretical contributions to the studies of the Heuristic Methods of Creation the innovative concepts of intersensorial hybridation, intertextual-semiotic hybridation and interformative hybridation whose amplitude allow us to apply them not only in the digital art but also in many fields of the artistic creation. ÚTERO COSMOS is an interactive sky-art, conceived in March of 2002, that proposes a constellative metaphor in the digital environment. The project, not limited to the hybridism as theme, explores creatively the hybrid potentiality of the support, involving Digital Poetics, Concrete Poetry, Intertextuality, Intersemiotic Translation and Interactivity as factors propitious to hybridations. The project was developed on-line (official site agnusvalente.com) in a structure of both work in process and work in progress, in three editions titled On-line Gestation (2003), Constellations (2005) and Expansions (2008), in which the artworks and the versions of its creation process were cumulatively preserved. As author-proposer, I engaged to the project the multimedia artist Nardo Germano, my twin brother with whom I share my inaugural hybridation of poetics, as well as the masters of the Concrete Poetry Augusto de Campos, Décio Pignatari, Haroldo de Campos and Ronaldo Azeredo and my masters of the Visual Arts Carmela Gross, Julio Plaza and Regina Silveira artists who influenced my production and whose poetics are validated, in my personal poetics, by deep artistic affinities and filiations. Starting from the artistic praxis, I conceived the concepts of intersensorial hybridation, intertextual-semiotic hybridation and interformative hybridation, organized according to the predominant occurrence in the creative operations. With respect to the hybridation of Media, I recognize in the digital medium, which I elected to develop this project, an intersensorial hybridation characterized by the simultaneous articulation of visual, tactile, kinetics and audio information. As for the hybridation of Systems, founded on the hybridity of the Concrete Poetry that mixes Literature and Visual Arts, I formulate the concept of intertextual-semiotic hybridation, that employes the meaning of the term text expanded from the verbal to the visual codes and other signs systems (Kristeva, Bense, Peirce), based on poetic or critical intertextuality (Perrone-Moysés) and on intersemiotic translation (Jakobson, Plaza). Concerning to the hybridation of Poetics as historical artistic movements and/or personal poetics the operations involve respectively intertextua l-semiotic hybridation and the operation which I denominate as interformative hybridation, this one formulated according to the concept of formativity (Pareyson), perceptible in the production ambit (co-authorial creations, intersemiotic translations, influences and/or artistic dialogues) and in the reception ambit (interactive artworks that absorb the interactors formativity). Concluding, the unity of the operated hybridations in ÚTERO COSMOS is founded on my hybrid poetics and, particularly, on my own formative unity as a person that defines me as a synthesizer artist therefore hybrid syntonized with a poetic project by the light of a constellative metaphor of Art.

Ce manuscrit présente une étude des composés multiferroïques RMnO$_3$ hexagonaux (R=Ho, Y, Yb, In, Sc). L'accent est mis sur les corrélations spin/spin statiques et dynamiques et sur le couplage entre degrés de liberté de spin et de réseau. Cette étude s'appuie sur de nombreux résultats de diffusion de neutrons aussi bien sur poudres que sur monocristaux. La diffraction permet de déterminer précisément les positions atomiques et la structure magnétique. Nous avons pu développer un modèle rendant compte de la très grande variété de comportements observés dans ces systèmes en nous basant sur la frustration des interactions d'échange interplans. La frustration des interactions magnétiques n'est pas simplement due au réseau triangulaire de Mn mais aussi aux interactions entre Mn de plans adjacents. Cette frustration est directement controlée par la position du Mn par rapport à une valeur seuil $x=1/3$ dans la maille élémentaire. Les mesures de diffusion inélastiques ont permis de valider ce modèle en vérifiant certaines prédictions à partir de mesures de dispersion d'onde de spins et d'un calcul numérique solide (signe de la constante d'échange interplan, transitions de réorientation). Elles ont également confirmé le rôle primordial des interactions RMn sur la dynamique de spin des Mn. Enfin des mesures complexes de diffusion inélastique de neutrons polarisés ont mis en évidence une hybridation entre excitations de réseau et de spin. Un modèle basé sur l'interaction de Dzyaloshiinski-Moriya est proposé pour rendre compte des observations expérimentales. Ce mode hybride est a rapprocher de l'électromagnon observé dans de nombreux systèmes, et semble être une composante inhérente à l'existence de la multiferroïcité.

Partant d’une part, du constat selon lequel tous les travaux sur le gouvernement des entreprises considèrent que la propriété de l’entreprise (actionnariale ou symbolique) est le fondement de la souveraineté et donc de la légitimité du dirigeant et d’autre part, du fait que trois définitions de la propriété coexistent au Sénégal, ce travail cherche à établir comment un dirigeant légitime-t-il ses pratiques en matière de gouvernement des entreprises dans le contexte sénégalais de multi-références à la notion de propriété. En effet, sa position de carrefour des civilisations du monde donne au Sénégal une pléthore de mécanismes de régulation des affaires et un large éventail de sources de droits de propriété. Compte tenu de ces multiples références à la propriété comment peut-on définir le gouvernement des entreprises au Sénégal? L’objectif est d’observer la rationalité qui est en œuvre dans les pratiques de gouvernement des entreprises sénégalaises en particulier et africaines en général. Pour ce faire, l’évolution des pratiques de gouvernement des hommes dans les entreprises africaines est questionnée et suivie pas à pas pour identifier, décrypter, décrire et analyser les référentiels sur lesquels les dirigeants des entreprises africaines s’appuient pour justifier leurs pratiques des entreprises. Nous avons privilégié l’analyse des représentations des dirigeants des entreprises sénégalaises. Les données du terrain ont montré que les pratiques au Sénégal sont le résultat de bricolages que les dirigeants des entreprises effectuent en puisant dans les différents modèles de gouvernance se référant à des formes de propriété différentes, les éléments qui les arrangent. Cet « arrangement » institutionnel définit des hybridations par emprunts sans aboutir à un modèle hybride unique. C’est un bricolage qui concilie l’efficacité économique et la solidarité communautaire ou clanique en formalisant les pratiques fondées sur la confiance et le contrôle (la première n’excluant pas le dernier). On est non pas en présence d’un nouveau modèle de gouvernement d’entreprises mais d’une matrice de pratiques de gouvernement d’entreprises qui se voit assigner un rôle paradoxal. D’une part, il en émerge un champ de pratiques inédites, d’autre part, cette matrice fait entrevoir le maintien de pratiques s’appliquant souvent de manière isolée selon les situations de gestion. / Based on the one hand, the observation that all work on corporate governance believe that ownership of the company (ownership or symbolic) is the basis of sovereignty and therefore the legitimacy of the leader and the other, that three definitions of ownership coexist in Senegal, this work seeks to establish how a legitimate leader, he practices in corporate governance in the context of Senegalese multi-references to the concept of ownership. Indeed, its position as a crossroads of civilizations in the world gives Senegal a plethora of mechanisms for regulating business and a wide range of sources of property rights. Given these multiple references to the property how can we define corporate governance in Senegal? The objective is to observe the rationality that is implemented in the practices of corporate governance in Senegal particularly and in Africa in general. To do this, the evolution of governance practices of men in African enterprises is questioned and followed step by step to identify, decipher, describe and analyze the benchmarks on which the leaders of African companies rely to justify their business practices. We have emphasized analysis of representations of leaders of Senegalese companies. The field data showed that the practices in Senegal are the result of tinkering that leaders of companies engaged in drawing the different governance models referring to different types of property, elements that settle. This "arrangement" defines institutional hybridizations by borrowing without producing a unique hybrid model. It is a craft that combines economic efficiency and community solidarity in clan or formalizing practices based on trust and control (excluding the first not the last). We are not in the presence of a new model of corporate governance but an array of practices of corporate governance which is assigned a paradoxical role. On the one hand, there emerges a field of new practices and on the other hand, that array hinted maintenance practices often applied in isolation by management situations.

La diapause embryonnaire se manifeste par un arrêt réversible du développement embryonnaire durant la période de préimplantation et induit un retard de l’implantation. Chez le vison américain, une diapause embryonnaire obligatoire caractérise chaque gestation. Si les mécanismes de contrôle de la diapause embryonnaire obligatoire chez cette espèce sont bien connus, le rôle utérin impliqué dans la réactivation de l’embryon demeure, quant à lui, encore inconnu. Le sujet de ce doctorat a consisté dans un premier temps à explorer l’environnement utérin à la sortie de la diapause embryonnaire afin de caractériser, dans un deuxième temps, les principaux acteurs utérins qui provoquent la réactivation de l’embryon. Nous avons effectué une analyse du transcriptome utérin à l’émergence de la diapause embryonnaire ce qui a permis de construire une librairie de 123 séquences d’ADNc utérines différentiellement exprimées à la réactivation de l’embryon et homologues à des séquences de gènes connues chez d’autres espèces. Ces gènes sont impliqués dans la régulation du métabolisme (25 %), de l’expression génique (21 %), de la transduction de signal (15 %), du cycle cellulaire (15 %), du transport (10 %) et de la structure cellulaire (9 %), reflétant ainsi d’importantes modifications utérines à la réactivation embryonnaire. Nous avons validé l’expression différentielle de dix gènes ainsi identifiés : GDF3 (growth and differentiation 3), ALCAM (activated leukocyte cell adhesion molecule), ADIPOR1 (adiponectin receptor 1), HMGN1 (high mobility group N1), TXNL1 (thioredoxin like 1), TGM2 (tissue transglutaminase 2), SPARC (secreted protein acidic rich in cystein), et trois gènes codant pour AZIN1 (antizyme inhibitor 1), ODC1 (ornithine decarboxylase 1) et SAT1 (spermidine/spermine N1-acetyltransferase), des enzymes impliquées dans la biosynthèse des polyamines. Le patron de l’expression spatio-temporel de SPARC et d’HMGN1 illustrent spécifiquement un remodelage tissulaire et de la chromatine au niveau utérin à la sortie de la diapause embryonnaire. Ayant mesuré une augmentation des concentrations utérines en polyamines à la reprise du développement embryonnaire, nous avons émis l’hypothèse que les polyamines seraient impliquées dans les événements menant à la sortie de la diapause. L’inhibition de la biosynthèse des polyamines par un traitement à l’ α-difluoromethylornithine (DFMO) a provoqué une diminution significative de la proliferation cellulaire dans les embryons à la réactivation, un retard du moment de l’implantation, mais n’a pas affecté le succès de la reproduction. De manière similaire, nous avons induit un état de dormance dans les cellules de trophoblaste de vison en présence DFMO dans le milieu de culture, et constaté que cet état était réversible. En conclusion, cette étude a non seulement ouvert de nouveaux horizons quant à la compréhension du rôle utérin dans les événements menant à la sortie de la diapause embryonnaire, mais a démontré pour la première fois, l’existence de facteurs utérins indispensables à la réactivation de l’embryon: les polyamines. / Embryonic diapause is characterized by a reversible arrest of blastocyst development prior to implantation and delay in implantation. In the American mink, embryonic diapause is a characteristic of each gestation. Although the mechanisms which control obligate embryonic diapause of this species are well known, the role of the uterus involved in blastocyst reactivation remains elusive. The subject of this doctoral research consisted first in exploring the uterine environment at the emergence of embryonic diapause in order to subsequently determine, the main factors in the uterus that provoke reactivation of the embryo. We have undertaken an analysis of the uterine transcriptome at the emergence of embryonic diapause which has enabled us to set up a library of 123 cDNA uterine sequences differentially expressed at blastocyst reactivation, and homologue gene sequences known in other species. Twenty-five percent of these genes are implicated in genetic expression, 15 % in cell signal transduction, 15 % in cell cycle, 10 % in transport and 9 % in cell structure. All of them reflect significant uterine modifications at blastocyst reactivation. We have validated differential expression of ten genes, identified as: GDF3 (growth and differentiation 3), ALCAM (activated leukocyte cell adhesion molecule), ADIPOR1 (adiponectin receptor 1), HMGN1 (high mobility group N1), TXNL1 (thioredoxine like 1), TGM2 (tissue transglutaminase 2), SPARC (secreted protein acidic rich in cystein), and three genes encoding for AZIN1 (antizyme inhibitor 1), ODC1 (ornithine decarboxylase 1) and SAT1 (spermidine/spermine N1-acetyltransferase), which are enzymes implicated in polyamine biosynthesis. The spatio-temporal expression patterns of SPARC and HMGN1 illustrate tissue and chromatin remodelling in the uterus at the termination of embryonic diapause. Having measured an increase in concentration of polyamines in the uterus at the resumption of blastocyst development, we have hypothetized that polyamines are implicated in the emergence of blastocysts from diapause. We inhibited polyamine biosynthesis in pregnant mink females during early blastocyst reactivation. The inhibition of polyamine biosynthesis through treatment with α-difluoromehtylornithine (DFMO) provoked a major reduction in cell proliferation in blastocysts at reactivation and a delay in the timing of implantation, but did not affect the success of reproduction. Similarly, we induced a reversible dormant state in cultured mink trophoblast cells traited with DFMO. To conclude, not only are results of this study a breakthrough in the understanding of the role of the uterus in stimulating at the emergence of blastocysts from embryonic diapause, but also, for the very first time, they indicate the existence of uterine factors, the polyamines, that are responsible for blastocysts reactivation.

Notre mémoire prend pour objet d’étude les dix-sept textes brefs rassemblés dans le recueil Contes et nouvelles suivis du Théâtre, écrits durant la période symboliste et dans lesquels on constate un phénomène d’hybridation entre les genres narratif et dramatique ainsi qu’entre thèmes symbolistes et décadents. Le premier chapitre s’attache à l’étude de Contes et nouvelles suivis du Théâtre dans la perspective des poétiques du recueil afin de constituer les éléments qui en font une « anthologie de l’entre-deux » du corpus rachildien de textes brefs. En adoptant la perspective de la poétique des genres, il sera question dans le deuxième chapitre d’étudier l’hybridation des genres littéraires, plus précisément entre la prose narrative et le texte dramatique, donnant lieu à des textes en « prose dramatique » qui se situent entre texte à lire et à mettre en scène. Enfin, dans le troisième chapitre nous examinerons les thèmes et les motifs récurrents de l’imaginaire rachildien où s’entremêlent symbolisme et décadentisme, après nous être intéressée à « l’écriture artiste » sous la plume de Rachilde, qui permet de rendre « visibles » les différentes formes de spectres, d’illusions et d’ombres qui parsèment les textes de Contes et nouvelles suivis du Théâtre. / Since Rachilde is generally associated with the french Decadent mouvement, few people are informed that the author also contributed to the symbolist movement of the 1890’s by helping in the set-up of the Théâtre de l’Art and Théâtre de l’Œuvre and especially by composing plays, tales and short-stories which take part in the symbolist spirit of the late nineteenth century. Gathered in the collection Contes et nouvelles suivis du Théâtre published in 1900 by the Mercure de France, these seventeen texts written between 1890 and 1900 establish an anthology of what we call Rachilde’s "symbolist period" of short-story, tale and play writing. Our dissertation is interested in the phenomenon of hybridisation between narrative and dramatic genres as well as between decadent and symbolist themes in this collection little known amongst scholars and the general public. The first chapter of our dissertation becomes attached to the study of Contes et nouvelles suivis du Théâtre in the perspective of the poetics of the collection and examines how the combination of Rachilde’s texts leads to an "anthologie de l’entre-deux". In our second chapter, we adopt the viewpoint of the poetics of genre to discuss the hybridisation of literary genres in Contes et nouvelles suivis du Théâtre, more precisely the narrative and the dramatic genres, that result in "dramatic prose". Finally, in the third chapter, we shall examine the recurring themes of Rachilde’s writing, that entangles decadent and symbolist themes, after being interested in "le style artiste", which allows her to sketch "in a visible way" the various forms of spectres, illusions and shadows that strew the texts of Contes et nouvelles suivis du Théâtre.

This thesis will study the Italian literary phenomenon Gomorra, viaggi nell'impero economico e nel sogno di dominio della Camorra. First, the focus will be on the text's hybrid nature and implications and also on its literary and intellectual inspirations (such as Truman Capote, Pier Paolo Pasolini and Leonardo Sciascia). Secondly, we will take a closer look at the structure of the novel's narrative and its literary details, in order to reveal the different processes used by Roberto Saviano to convince the reader. Interwoven in this book's central plot, we will find a main obsession: the need to understand. Lastly, we will discuss the question of the great power treated in this novel, the one of a criminal organisation transformed by the revelations made throughout the story. These revelations will allow us to draw interesting comparisons between organized crime and merchant capitalism. For this part, we will refer to Guy Debord's La société du spectacle, and to Hannah Arendt's work on the question of totalitarianism. All of these elements will allow us to discuss the different perspectives within the narrative's framework, and more precisely, the figure of the narrator/author/character that gives Saviano's novel anthropological qualities, in the form of an ethnofiction (Augé). / Ce Mémoire cherchera a étudier le phénomène littéraire italien Gomorra, viaggio nell’impero economico e nel sogno di dominio della Camorra. Au fil de l’analyse il sera évoqué autant son caractère hybride et les implications que cela représente que les influences littéraires et intellectuelles, auquel un tel texte fait écho ( Truman Capote, Pier Paolo Pasolini, Leonardo Sciascia…). Par la suite nous nous attacherons aux structures narratives et aux particularités littéraires du roman, afin de faire ressortir les différents procédés utilisés par Roberto Saviano dans son intention de convaincre. Une obsession qui s’inscrit dans la dynamique centrale du livre, celle de comprendre. Enfin, il sera question de la grande force qui entoure ce roman, celle d’un crime organisé rendu différent de par les révélations faites au sein du roman. De cela nous tirerons une étude comparative entre le crime organisé et le capitalisme marchand, faisant appel autant à Guy Debord et son œuvre La société du spectacle, qu’à Hannah Arendt pour ses nombreux travaux entourant la problématique du totalitarisme. Tous ces éléments nous permettront de conclure sur la particularité des points de vue, notamment avec la figure du narrateur/auteur/personnage qui nous permettra de rapprocher le roman de Roberto Saviano au travail anthropologique, dans la dynamique d’une forme d’ethno- fiction (Augé)

Le succès écologique des organismes dépend principalement de leur phénotype. Une composante important du phénotype est la morphologie fonctionnelle car elle influence la performance d’un organisme donné dans un milieu donné et donc reflète son écologie. Des disparités dans la morphologie fonctionnelle ou dans le développement entre espèces peuvent donc mener à des différences écologiques. Ce projet évalue le rôle des mécanismes de variation morphologique dans la production de différences écologiques entre espèces au sein des poissons hybrides du complexe Chrosomus eos-neogaeus. En utilisant la microtomodensitométrie à rayons X et la morphométrie géométrique 3D, la forme des éléments des mâchoires est décrite pour comparer la variation morphologique et les différences développementales entre les membres du complexe C. eos neogaeus. Les hybrides présentent autant de variation phénotypique que les espèces parentales et présentent des phénotypes nouveaux, dit transgressifs. Les hybrides présentent aussi des différences marquées avec les espèces parentales dans leur allométrie et dans leur intégration phénotypique. Finalement, ceux-ci semblent être plastiques et en mesure de modifier leur phénotype pour occuper plusieurs environnements. L’entièreté de ces résultats suggère que des changements dans le développement des hybrides entraînent une différenciation phénotypique et écologique avec les espèces parentales. / An organism’s success is highly dependent on its phenotype. A major component of the phenotype is functional morphology because of its role in determining performance in a given environment clues as to their ecology. Morphological disparity and developmental differences between species can thus lead to ecological differences. This project assesses the role that mechanisms capable of generating morphological variation have in producing ecological differences between species within the hybrid fishes of the Chrosomus eos-neogaeus complex. Using X-ray based computer-aided micro-tomography and 3D geometric morphometrics, the shape of bones composing the jaws was described to measure morphological variation and developmental differences in the C. eos-neogaeus complex. Chrosomus eos-neogaeus hybrids displayed as much variation as parental species and novel, deemed transgressive, phenotypes. Hybrids were also markedly different from parental species in their patterns of allometric scaling and phenotypic integration. Finally, hybrids appeared to be plastic and able to acclimate to different environments. The results of this study indicate that changes in the development of hybrids could lead to phenotypic and, in turn, ecological differences with parental species.

Pas de résumé français / Pas de résumé anglais