<p>The objective of this paper is to examine narrative techniques used by the Swedish author Stig Claesson, especially his transformations of texts out of the own authorship into new stories. In order to achieve my objective, I will specifically study two novels; <em>Rosine</em> (1991) and <em>Efter oss syndafloden</em> (2002) and the method practiced will be intentional reading, as described by H. Porter Abbott. For the analysis I will, with the complementary support of Abbott and Beata Agrell, turn to Gerard Genette and his theories concerning transformation and transtextuality, in particular its sub idiom hypertextuality. As a result of my analysis, various subgroups of transformation used by Claesson are identified, but also proven is how Claesson, largely by utilizing two of them; transvocalisation and transvaluation, provides the reader with the implied author of his own choice. Moreover, my investigation demonstrates how Claesson when reusing narratives already told by himself, i.e. transforming hypotexts of his own into hypertexts, recycles characters;  reprocesses master as well as sub plots; alters trivial details; re-interprets events; switches from one narrative view to another, all well documented techniques described by Genette as elements of transformation.</p>

Belini, Raimunda Gomes de Carvalho. Multimodalidade e propósitos comunicativos no gênero homepage institucional. 2014. 179f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Linguística, Fortaleza (CE), 2014. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-04-27T17:56:48Z No. of bitstreams: 1 2014_tese_rgcbelini.pdf: 4198270 bytes, checksum: 34bccde93040af5c13b39ce6c4ef4557 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-02T18:42:08Z (GMT) No. of bitstreams: 1 2014_tese_rgcbelini.pdf: 4198270 bytes, checksum: 34bccde93040af5c13b39ce6c4ef4557 (MD5) / Made available in DSpace on 2017-05-02T18:42:08Z (GMT). No. of bitstreams: 1 2014_tese_rgcbelini.pdf: 4198270 bytes, checksum: 34bccde93040af5c13b39ce6c4ef4557 (MD5) Previous issue date: 2014 / The digital genres are characterized by such features as multimodal organizations, hypertext elements and communicative purposes. These, in turn, are the product of the unique resources of the environment. According to this assumption, in this research, we aim to analyze the multimodal resources, the hypertext elements and communicative purposes that contribute to the formation of the institutional homepage text genre. These include multimodal resources, hypertext elements and communicative purposes. To this end, this thesis is based on the Social Semiotic Multimodal Analysis, which finds support in the proposed Grammar of Visual Design (KRESS; VAN LEEUWEN, 1996; 2006), in studies of digital hypertextuality (COSCARELLI, 1999; 2009; RIBEIRO, 2008; ARAÚJO; LIMA-NETO, 2012), and in communicative purposes (ASKEHAVE; SWALES, 2001; SWALES, 2004; BEZERRA, 2009; BIASI-RODRIGUES; BEZERRA, 2012). Based on the genre analysis model proposed by Vijay Bhatia (2004), we established a methodology for analyzing digital genre which supported the investigation process of the federal universities’ homepages. This allowed us to achieve the desired goals of this research. The analyses of this investigation show that the genre in question is characterized by the visual/graphic dimension over the strictly verbal in order to promote multimodal and hypertextual integration, and set up the organizational logic of the genre. Therefore, rather than simply offering synopses, calls and summaries of the website content, presentation of colors, shapes, images through its own multimodal resources, the institutional homepage genre aims to engage the reader while strengthening the institution’s identity and helping to establish the desired public image. Moreover, the institutional homepage genre does not provide the reader with all site content, but presents a selection of content determined by their administrators. The selection criteria are based on what they believe will meet the needs and wishes of the reader/user. / Os gêneros textuais digitais apresentam características próprias decorrentes, especialmente, dos recursos que o meio oferece, como por exemplo, as organizações multimodais, os elementos hipertextuais e os propósitos comunicativos. Partindo desse pressuposto, objetivamos, nesta pesquisa, analisar os recursos multimodais, os elementos hipertextuais e os propósitos comunicativos, que contribuem para a constituição do gênero textual homepage institucional. Para tanto, esta tese está fundamentada na Análise Sociossemiótica Multimodal, que encontra amparo na proposta da Gramática do Design Visual (KRESS; VAN LEEUWEN, [1996] 2006), nos estudos da hipertextualidade digital (COSCARELLI, 1999; 2009; RIBEIRO, 2008; ARAÚJO; LIMA-NETO, 2012) e dos propósitos comunicativos (ASKEHAVE; SWALES, 2001; SWALES, 2004; BEZERRA, 2009; BIASI-RODRIGUES; BEZERRA, 2012). Com base no modelo de análise de gênero proposto por Vijay Bhatia (2004), estabelecemos uma metodologia de análise de gênero textual digital, que forneceu os subsídios necessários ao percurso de investigação das homepages de universidades federais e assim alcançarmos os objetivos pretendidos a esta pesquisa. As análises desta investigação revelam que o gênero textual em questão é caracterizado pelo visual/gráfico que se destaca em detrimento do estritamente verbal, de forma a promover a integração multimodal/hipertextual e a configurar a lógica organizacional do gênero. Portanto, mais do que simplesmente oferecer sinopses, chamadas e sumários do conteúdo do site e apresentar cores, formas, imagens, através de seus recursos multimodais próprios, o gênero textual homepage institucional de universidades federais pretende atrair o leitor e fortalecer a identidade da instituição, procurando estabelecer uma imagem pública desejada. Além disso, o gênero textual homepage institucional de não fornece ao leitor todo conteúdo do site, mas apresenta uma seleção de conteúdos determinados por seus administradores que se baseiam naquilo que acreditam que irá satisfazer as necessidades e os anseios do leitor/usuário.

L'œuvre de Martín Kohan (Buenos Aires, 1967), écrivain prolifique à la notoriété grandissante au sein de la littérature argentine contemporaine, est l'objet de ce travail de recherche. Nous abordons le corpus – constitué par l'essentiel de l'œuvre : huit romans sur les neuf publiés à ce jour, La pérdida de Laura (1993), El informe. San Martín o el otro cruce de los Andes (1997), Los cautivos. El exilio de Echeverría (2000), Dos veces junio (2002), Segundos afuera (2005), Museo de la Revolución (2006), Ciencias morales (2007), Cuentas pendientes (2010); et deux recueils de nouvelles, Muero contento (1994), et Una pena extraordinaria (1998), principalement – sous l'angle de l'antagonisme, motif essentiel de l'univers fictionnel de Kohan, non seulement sur le plan de la diégèse mais également sur celui de la forme. Ce travail part de l'observation d'une constante au sein d'un corpus pourtant très varié : un rapport dichotomique, fait d'incompréhension et parfois de violence, entre la culture populaire ou la culture de masse, et la culture lettrée. La première partie de la thèse en propose une analyse systématique dans les cinq romans qui abordent explicitement ce type de conflit sous les modalités les plus diverses. La deuxième partie explore d'autres procédés qui tendent à confirmer le rôle structurant de l'antagonisme au sein de l'œuvre : si la mise à mal de l'union amoureuse semble exprimer la fatalité du malentendu, la dévalorisation des personnages du « milieu » et de la figure du consensus d'une part, et l'aspect revigorant des conflits menés à leur dernière extrémité d'autre part, révèlent l'aspect positif et particulièrement dynamique de l'antagonisme. La dernière partie se consacre aux implications de ce motif, omniprésent au point de représenter une nécessité : sur le plan politique – car sans être réaliste, la littérature de Kohan met en action la révolution marxiste en élaborant des figures de contre-pouvoir – ; sur le plan littéraire, où l'antagonisme montre toute sa fécondité. Le rapport hypertextuel, établi notamment avec des textes qui font autorité dans la littérature nationale, en est une expression essentielle ; mais la dichotomie est aussi une composante qui se manifeste à tous les niveaux de l'écriture, de l'unité minimale du mot à l'architecture complexe des romans. À la lutte entre personnages fait écho celle – défi formel le plus ambitieux – qui se joue entre le fond et la forme, source d'inépuisable ambivalence qui constitue l'une des spécificités les plus intéressantes de cet écrivain brillant. / The purpose of this study is to examine the literary work of Martin Kohan (Buenos Aires, 1967), prolific and increasingly renowned writer in contemporary Argentinian literature. We analyse the corpus – made up of the essential of his work: eight novels out of the nine published so far, La pérdida de Laura (1993), El informe. San Martín o el otro cruce de los Andes (1997), Los cautivos. El exilio de Echeverría (2000), Dos veces junio (2002), Segundos afuera (2005), Museo de la Revolución (2006), Ciencias morales (2007), Cuentas pendientes (2010); and two collections of short stories, Muero contento (1994), and Una pena extraordinaria (1998), mainly – from the perspective of antagonism, an essential pattern in terms of diegesis but also in terms of form. The starting point of this study is the observation of a constant within a diverse work: a dichotomous relationship made of incomprehension and sometimes violence between popular culture and literate culture. The first part of the thesis consists of a systematic analysis of the dichotomy in the five novels which explicitly explores this type of conflict. The second part examines other devices that tend to confirm the structuring role of antagonism throughout Kohan's fictions : love's defeat seems to express the fatality of misunderstanding, yet the depreciation of the middle characters and of consensus on the one hand, and the invigorating nature of conflicts when driven to their end on the other hand, reveal the positive and particularly dynamic aspect of antagonism. The last part focuses on the implications of this pattern which perbades to the point of becoming a necessity: on a political level– although Kohan's literature is not realistic, it activates the Marxist revolution by developing counter-power figures –; in literary terms, where antagonism proves a productive force. The hypertextual relation, set up especially with seminal national pieces, is an essential expression of this productivity but the dichotomy also operates at every level of writing, from the minimal unit of the word to the whole architecture of the novels. Echoing the conflicts between the characters is another type of conflic – the utmost formal challenge, that opposing form and content, an inexhaustible source of ambivalence which represents one of the most interesting features of this brilliant author.

Les problèmes que pose, traditionnellement, la notion d'interprétation en droit (l'idéologie du juge comme bouche de la loi) sont encore multipliés lorsque l'on se place au niveau constitutionnel : ce qui est généralement considéré comme les techniques permettant de garantir la juridicité des interprétations de la loi exposent d'autant plus visiblement leurs lacunes, qu'il n'existe plus de norme supérieure donnant l'apparence de les garantir. En théorie, certains courants ont cherché, après Kelsen, à fonder rationnellement l'interprétation, afin de pouvoir juger de sa vérité. A chaque fois, cependant, il leur a été nécessaire de se rattacher à des éléments externes en droit et dont le caractère de vérité pouvait, de plus, être contesté. A l'opposé, le réalisme juridique se contente d'affirmer le pouvoir créateur du juge, et sa liberté d'interprétation ; ce faisant, pourtant, il ne peut pas rendre compte du processus interprétatif en fait (comment le juge décide-t-il lorsqu'il n'a pas de préjugé ?). La thèse cherchera donc, au moyen d'une étude empirique, à dégager des éléments qui pourraient servir de futurs développements théoriques sur la question de l'interprétation. Pour ce faire, elle mettra en œuvre des outils tirés des sciences littéraire, linguistique et sociologique et construira à partir de là une perspective autre que celle généralement proposée par les travaux sur l’interprétation. Afin d’asseoir plus solidement ses développements, ce travail adopte une méthode comparatiste (France – Allemagne) : les deux cours, fort éloignées à l'origine, mais en train de se rapprocher, ne peuvent manquer d'offrir les tensions nécessaires. / When one admits with legal realism that methods of interpretation cannot give the one good answer to a juridical case, and thus cannot assure that the judge is bound to the limits the separation of powers imposes on him, it becomes possible to change the perspective on these techniques. They now can be regarded as revealing the institutional constraints which affect the judge. The first part of this dissertation examines how the judge is writing the constitution. Based on G. Genette’s theories on hypertextuality (hypertextualité) it is possible to describe two different types of interpretation (imitation and transposition). The different interpretational choices made by the French and German judges seem to confirm the general impressions: the German Federal constitutional court (Bundesverfassungsgericht) has a bigger power on shaping the constitution than the French Conseil constitutionnel. The second chapter demonstrates how this difference has a bearing on the two court’s institutional actions. The German judge is more straightforward when it comes to dealing with the legislator, deliberately using the instruments his position as a constitutional judge are offering. The French judge, on the other hand, seems more reluctant in this respect. Vis-à-vis the other judges, the constitutional judge (supported by more direct means of action, such as the constitutional complaint) can take a more and more preponderant position, corresponding to his understanding of the constitution. In France however, the lack of constraining procedures between the different courts results in a system of negotiations – oftentimes to redound to the normal judge’s advantage. Both constitutional courts are exposed to a similar constraint (the articulation between existing juridical system and the system of the constitution). The methods of interpretation are useful to them in order to bring different answers. / Einmal angenommen, wie im Legal realism, dass die Auslegungsmethoden nicht zur einzigen richtigen Lösung eines Falles führen und daher nicht für die richterliche Beachtung der von einem System der Gewaltenteilung gesetzten Schranken bürgen können, wird ein Perspektivenwechsel möglich und aufschlussreich. Somit können die Auslegungsmethoden als Ausdruck der institutionellen Zwänge, denen die Richter ausgesetzt sind, betrachtet werden. Der erste Teil dieser Dissertation beschäftigt sich damit, wie die Verfassung durch den Richter geschrieben wird. Anhand der von G. Genette entwickelten Hypertextualitätstheorie werden zwei allgemeine Auslegungsmodelle (Mimesis und Übertragung) ausgearbeitet. Dabei wird gezeigt, dass der vom deutschen und französischen Richter jeweils unterschiedlich gewählte Pfad einen ersten Eindruck bestätigt: das Bundesverfassungsgericht ist mächtiger wenn es darum geht, die Verfassung zu gestalten. Gleichzeitig hat jener Unterschied eine spürbare Wirkung auf das institutionelle Handeln der Gerichte, worauf im zweiten Teil der Arbeit eingegangen wird. Dem Gesetzgeber gegenüber wagt das deutsche Gericht mehr und ist freimütiger als das französische Gericht mit den ihm (als Verfassungsgericht) genauso wie seinem Homolog in Paris zur Verfügung stehenden Instrumenten. Auch nimmt er in seinen Beziehungen zu den anderen Richtern er eine fast überragende Stellung ein (was Verfahren wie die Verfassungsbeschwerde erleichtern), die seinem Verständnis des Grundgesetzes entspricht. Im Gegenteil dazu führt in Frankreich die strenge Trennung zwischen den drei hohen Gerichten zu einem System der Verhandlung, meistens zugunsten des Fachrichters. Anhand der Auslegungsarbeit beantworten somit beide Gerichte die Frage der Eingliederung der herkömmlichen Rechtsordnung und der Verfassungsordnung unterschiedlich.

SILVA, Francisca Mônica da. Chats e e-fóruns na Ead virtual: links entre mediação pedagógica e hipertextualidade. 2008. 195f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2008. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-21T12:55:16Z No. of bitstreams: 1 2008_dis_fmsilva.pdf: 5483323 bytes, checksum: c468092c56c2e568979661ed9f45997b (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-21T14:51:08Z (GMT) No. of bitstreams: 1 2008_dis_fmsilva.pdf: 5483323 bytes, checksum: c468092c56c2e568979661ed9f45997b (MD5) / Made available in DSpace on 2014-08-21T14:51:08Z (GMT). No. of bitstreams: 1 2008_dis_fmsilva.pdf: 5483323 bytes, checksum: c468092c56c2e568979661ed9f45997b (MD5) Previous issue date: 2008 / Based on the concepts of interaction and pedagogical mediation by Bakhtin and Vygotsky respectively, the aim of this research was to investigate how the hypertext nature of educational chats and e-forums influences the pedagogical mediation and interaction among the participants of online courses. The hypothesis was that the hypertext resources available in these educational genres would foster the development of learners’ autonomy and support successful mediation by the tutor in virtual learning environments. In order to collect data for this research, the methodology employed some qualitative characteristics of ethnographic research and participant observation techniques along with the quantitative mapping of hypertext resources used during interaction and pedagogical mediation. According to the analysis of the data, hypertext resources were used by tutors and students to demonstrate: curiosity, worry, stimulus, satisfaction, enthusiasm, surprise, constraint, happiness, and attempts to belong and share with the groups, among others. The analysis also showed that the tutors were successful in enhancing pedagogical interaction and making it dynamic when they enabled the students to effectively use the hypertext resources of these two digital genres – chats and e-forums. At the same time, the students used the same tools in their interactions to clarify doubts and to contribute to the development of the group, proving that interaction in the digital environment is a two-way road, in which both tutors and students learn together. This indicates that the use of multiple hypertext resources might enrich interactions and contribute to the construction of mediated knowledge. / Partindo das perspectivas bakhtiniana e vygotskyana sobre interação e mediação pedagógica, respectivamente, o objetivo da presente pesquisa foi investigar a influência da natureza hipertextual dos gêneros digitais chats e e-fóruns educacionais na mediação pedagógica e na interação entre os atores de cursos a distância pela Internet. Nossa suposição foi a de que o uso do caráter intersemiótico do hipertexto em ambientes virtuais de aprendizagem colabora no desenvolvimento da autonomia dos estudantes e garante o sucesso da mediação pelo tutor, tendo em vista a diversidade de recursos hipertextuais presentes nesses gêneros. Para a construção dos dados, adotamos uma metodologia que mescla algumas das características qualitativas da pesquisa etnográfica, como a técnica da observação participante, e o mapeamento numérico das ocorrências de usos dos recursos hipertextuais durante a interação e a mediação pedagógica. Os resultados da análise dos dados mostram que as situações de uso dos recursos hipertextuais por tutores e alunos são diversificadas, uma vez que foram encontradas situações do tipo curiosidade, preocupação, incentivo, satisfação, entusiasmo, surpresa, constrangimento, felicidade, tentativa de aproximação, compartilhamento de informações, dentre outros. Diante dessas situações, a análise mostrou que os professores conseguiram fortalecer e dinamizar a mediação pedagógica, possibilitando aos alunos utilizar de maneira funcional os recursos hipertextuais dos gêneros digitais chat e e-fórum. Ao mesmo tempo, os alunos também utilizaram esses mecanismos nas interações para dirimirem dúvidas e contribuírem para o crescimento do grupo, comprovando que no meio digital a mediação é uma via de mão dupla, em que tutores e alunos aprendem juntos. Isto se justifica porque o uso das múltiplas semioses pode enriquecer as interações na medida em que contribui para a construção do conhecimento mediado.

Made available in DSpace on 2017-07-10T18:55:31Z (GMT). No. of bitstreams: 1 Talismara.pdf: 3352817 bytes, checksum: c38bd879e23df50223f0a39579286b94 (MD5) Previous issue date: 2013-03-08 / The dissertation called Through Ariadne s yarn: a hypertextual proposal for the foreign language teaching-learning process, demands to deliniate another way of teaching foreign language, through the use of digital communication technology, where educators are encouraged to rethink their educational praxis in several senses but especially in harmony with the possibilities that digital technology offers. It searches to establish other treatments for foreign language teaching, since learnes find possibilities of accessing the foreigh language outside school, in a variety of ways, but specially on the internet. It deals with investigating the way that these languages are being taught in school, often in a descontextualized, hierarchical and arborous way. It offers as a contribution to foreign language teaching some yarn-paths, yarn-strategies, yarn-theoretical, yarn-reflections, yarn-transdisciplinarity and interdisciplinarity, yarn-meaninful learning in order to present a different, creative and reflective work, considering aspects that seduce, attract, re-enchant the learners to the continuous search for knowledge each day more vast, comprehensive and relevant to attend the requirements of a world in quickly transformation, pointing to the importance of foreign language teachers continuing education, offering moments for discussions, learnings and reflections. It presents possibilities for a hypertextual teaching through the use of digital technology in foreing language learning, which composes besides studies and researches, a continuing education course for foreign language teachers from public schools called atelier, where teachers were encouraged to act as learners in continuous exchange of experiences and knowledge while course participants and with their students, when they are at school, considering several paths to practice the foreign language in the digital environment, such as today's society requires. / A dissertação denominada Pelo fio de Ariadne: uma proposta hipertextual para o ensino-aprendizagem de língua estrangeira, procura traçar um outro modo do fazer pedagógico de línguas estrangeiras modernas para o ensino fundamental, por meio do emprego das tecnologias de comunicação digital, no qual os educadores são incentivados a repensar sua práxis educativa em vários sentidos mas, especialmente em harmonia com as possibilidades que a tecnologia digital oferece. Procura estabelecer outros encaminhamentos para o ensino de línguas estrangeiras modernas, uma vez que os educandos encontram possibilidades de acesso a tais línguas fora do contexto escolar, nas mais diversas formas, mas especialmente na internet. Ocupa-se de averiguar como o modo que tais línguas estão sendo trabalhadas na escola, muitas vezes de maneira descontextualizada, hierarquizada e arbórea. Com o intuito de oferecer como contribuição ao ensino-aprendizagem de línguas, alguns fios-caminhos, fios-estratégias, fios-teóricos, fios-reflexões, fios-transdiciplinares e transversais, fios-aprendizagem-significativa para um trabalho diferenciado, criativo e reflexivo considerando aspectos que seduzam, atraiam e reencantem os educandos. Com o propósito de que haja uma busca contínua pelo conhecimento, cada dia mais amplo, abrangente e pertinente às exigências de um mundo em transformação célere, apontando para a importância da formação continuada dos professores, que ofereça momentos para discussões, aprendizagens e reflexões. Tece e apresenta possibilidades para um ensino hipertextual por meio do emprego da tecnologia digital no movimento do processo de ensino-aprendizagem de língua estrangeira, que se constituiu, além dos estudos e pesquisas, em um curso de formação continuada para professores da rede estadual e municipal de ensino, denominado de Ateliê, no qual os professores foram incentivados a atuar como aprendentes, em trocas contínuas de experiências e conhecimentos entre si enquanto cursistas e com seus estudantes, quando em contexto de sala de aula, considerando os inúmeros caminhos possibilitados para praticar a língua estrangeira no ambiente digital, como a sociedade hodierna requer.

Made available in DSpace on 2017-07-10T18:55:39Z (GMT). No. of bitstreams: 1 Talismara Pereira.pdf: 3352811 bytes, checksum: 2ccc6e194d058a65c1c793c7bc6c0b17 (MD5) Previous issue date: 2013-03-08 / The dissertation called Through Ariadne s yarn: a hypertextual proposal for the foreign language teaching-learning process, demands to deliniate another way of teaching foreign language, through the use of digital communication technology, where educators are encouraged to rethink their educational praxis in several senses but especially in harmony with the possibilities that digital technology offers. It searches to establish other treatments for foreign language teaching, since learnes find possibilities of accessing the foreigh language outside school, in a variety of ways, but specially on the internet. It deals with investigating the way that these languages are being taught in school, often in a descontextualized, hierarchical and arborous way. It offers as a contribution to foreign language teaching some yarn-paths, yarn-strategies, yarn-theoretical, yarn-reflections, yarn-transdisciplinarity and interdisciplinarity, yarn-meaninful learning in order to present a different, creative and reflective work, considering aspects that seduce, attract, re-enchant the learners to the continuous search for knowledge each day more vast, comprehensive and relevant to attend the requirements of a world in quickly transformation, pointing to the importance of foreign language teachers continuing education, offering moments for discussions, learnings and reflections. It presents possibilities for a hypertextual teaching through the use of digital technology in foreing language learning, which composes besides studies and researches, a continuing education course for foreign language teachers from public schools called atelier, where teachers were encouraged to act as learners in continuous exchange of experiences and knowledge while course participants and with their students, when they are at school, considering several paths to practice the foreign language in the digital environment, such as today's society requires / A dissertação denominada Pelo fio de Ariadne: uma proposta hipertextual para o ensino-aprendizagem de língua estrangeira, procura traçar um outro modo do fazer pedagógico de línguas estrangeiras modernas para o ensino fundamental, por meio do emprego das tecnologias de comunicação digital, no qual os educadores são incentivados a repensar sua práxis educativa em vários sentidos mas, especialmente em harmonia com as possibilidades que a tecnologia digital oferece. Procura estabelecer outros encaminhamentos para o ensino de línguas estrangeiras modernas, uma vez que os educandos encontram possibilidades de acesso a tais línguas fora do contexto escolar, nas mais diversas formas, mas especialmente na internet. Ocupa-se de averiguar como o modo que tais línguas estão sendo trabalhadas na escola, muitas vezes de maneira descontextualizada, hierarquizada e arbórea. Com o intuito de oferecer como contribuição ao ensino-aprendizagem de línguas, alguns fios-caminhos, fios-estratégias, fios-teóricos, fios-reflexões, fios-transdiciplinares e transversais, fios-aprendizagem-significativa para um trabalho diferenciado, criativo e reflexivo considerando aspectos que seduzam, atraiam e reencantem os educandos. Com o propósito de que haja uma busca contínua pelo conhecimento, cada dia mais amplo, abrangente e pertinente às exigências de um mundo em transformação célere, apontando para a importância da formação continuada dos professores, que ofereça momentos para discussões, aprendizagens e reflexões. Tece e apresenta possibilidades para um ensino hipertextual por meio do emprego da tecnologia digital no movimento do processo de ensino-aprendizagem de língua estrangeira, que se constituiu, além dos estudos e pesquisas, em um curso de formação continuada para professores da rede estadual e municipal de ensino, denominado de Ateliê, no qual os professores foram incentivados a atuar como aprendentes, em trocas contínuas de experiências e conhecimentos entre si enquanto cursistas e com seus estudantes, quando em contexto de sala de aula, considerando os inúmeros caminhos possibilitados para praticar a língua estrangeira no ambiente digital, como a sociedade hodierna requer

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire s’intéresse à la citation d’œuvres romantiques par le groupe rock britannique Muse, à partir d’une dizaine de chansons représentatives de son style. Bien qu’il ne soit pas rare qu’un groupe rock se base sur une œuvre antérieure pour écrire une nouvelle chanson, Muse constitue un cas particulier puisqu’il fait très peu usage de citations littérales. Cette étude s’inspire principalement des théories de Gérard Genette et de James Peter Burkholder et classe les emprunts en diverses catégories, dont l’allusion, la paraphrase, la citation programmatique, l’arrangement cumulatif et le modelage. Dans ce dernier cas, Muse assimile l’emprunt pour communiquer une coloration romantique à sa musique, à la manière d’un pastiche. Au moins cinq chansons du groupe évoquent le Deuxième Concerto pour piano de Rachmaninov, soit « Megalomania », « Ruled by Secrecy », « Space Dementia », « Butterflies and Hurricanes » et le prélude instrumental de « Survival ». Ce mémoire analyse aussi l’allusion au Premier Concerto pour piano de Tchaïkovski dans « Hoodoo », la paraphrase du thème de l’idée fixe de la Symphonie fantastique de Berlioz dans « Glorious » et la citation de l’opéra Samson et Dalila de Saint-Saëns dans « I Belong to You ». Ce procédé a un impact sur la réception des chansons. Ainsi, la coda de la chanson « United States of Eurasia » cherche à décrire l’état d’innocence menacé par la guerre en combinant des rires d’enfants au Nocturne op. 9 no 2 de Chopin, évoquant la nostalgie d’une époque révolue. / This thesis looks at the citation of Romantic works by the British rock group Muse, based on about ten songs representative of its style. While it is not uncommon for a rock band to use a previous work to write a new song, Muse constitutes a particular case since it makes very little use of literal citation. This study is based primarily on the theories of Gérard Genette and James Peter Burkholder and classifies the borrowings in various categories, including allusion, paraphrase, programmatic citation, cumulative arrangement and modeling. For example, with modeling, Muse assimilates the borrowing in order to communicate a Romantic dimension in its music, similar to a pastiche. At least five songs of the band evoke Rachmaninov’s Piano Concerto no. 2 : “Megalomania”, “Ruled by Secrecy”, “Space Dementia”, “Butterflies and Hurricanes” and the instrumental prelude to “Survival”. This thesis also analyses the allusion to Tchaïkovski’s Piano Concerto no. 1 in “Hoodoo”, the paraphrase of the idée fixe from Berlioz’s Symphonie fantastique in “Glorious” and the citation of Saint-Saëns’ opera Samson and Delilah in “I Belong to You”. This technique has an impact on the songs’ reception. For example, the coda of the song “United States of Eurasia” seeks to describe the state of innocence threatened by war, by combining children’s laughter with Chopin’s Nocturne op. 9 no 2, thus evoking nostalgia of a bygone era.

Lorsqu’un travail critique se propose d’étudier la présence du latin et de la culture classique chez des écrivains contemporains, c’est à la notion d’héritage que l’on pense tout d’abord. Mais cette notion d’héritage pose problème. Elle doit être considérée avec prudence, comme un possible leurre, même si elle est avérée dans les œuvres de nos trois auteurs, de par certains phénomènes formels itératifs, citations latines, ainsi que la transposition de textes antiques. S’il est donc évident que lesdites œuvres affichent une apparente continuité à la fois au niveau formel et au niveau des contenus de culture, l’Antiquité latine réinvestie perd son statut particulier : elle n’est ni objet du texte, ni voix de l’autorité, ni preuve d’érudition (même si elle feint de l’être), ni trésor d’outils rhétoriques qui favorise la séduction : au contraire, elle est un piège posé au lecteur qui fait trop confiance à sa culture. Le réinvestissement de la culture et des textes antiques que nos trois auteurs pratiquent s’approche dangereusement tantôt du stéréotype, du lieu commun, tantôt d’une réutilisation complètement personnelle de la culture antique. Le latin s’avère ou bien un produit de leur imagination d’écrivain (et en tant que tel il n’est pas tout à fait identifiable à la langue morte que nous connaissons), ou bien il fait partie de la productivité textuelle de l’écriture et passe du statut de texte à celui de matériau réutilisable. Le rapport qu’entretiennent Claude Simon, Pascal Quignard et Jean Sorrente avec le latin relève donc du paradoxe : ils réinventent, voire réécrivent l’Antiquité. / When a critic’s work intends to focus on the presence of Latin and classic culture in the work of contemporary writers, one thinks foremost of the notion of heritage. But it is this notion of heritage that poses a problem. One has to approach it in a very prudent way, as if it would be a lure, even though it is attested in the works of our three authors, through the use of recurrent formal parallels, Latin quotations, and the transposition and rewriting of ancient texts. Indeed, though it is evident that these works show an apparent continuity both in form and in cultural content, the reinvested Latin Antiquity looses its particular status: it is neither object of the text, nor voice of the authority, nor proof of erudition (although it sometimes pretends to be), nor treasure box of rhetorical tools that help seducing the reader: on the contrary, it is a trap for the reader who places his trust solely in his cultural knowledge. The reinvestment that our three authors apply to the Latin text and culture gets dangerously close either to the stereotype, the commonplace, either to a completely personal reuse of antique culture. Latin is thus either a product of their artistic imagination (and as such cannot be totally identified with the dead language that we know), either part of the textual productivity of their writing, which means that it must be considered as a reusable material rather than an autonomous text. The bond that ties Claude Simon’s, Pascal Quignard’s and Jean Sorrente’s works to the Latin is thus paradoxical in nature: what they do is reinventing, or rather rewriting Antiquity.

À la fin de la dynastie Ming, Baoweng laoren a sélectionné quarante contes en langue vulgaire dans la collection San Yan Er Pai 三言兩拍 de Feng Menglong et de Ling Mengchu. Cette anthologie est connue sous le titre Jingu qiguan 今古奇觀 (Spectacles curieux d’aujourd’hui et de jadis). Elle a connu un immense succès à l’époque de sa publication et a été sans cesse rééditée. Aujourd’hui, elle est considérée comme un chef-œuvre représentatif de la littérature chinoise en langue vulgaire. Sa réputation a dépassé la frontière de la Chine depuis longtemps. Au XVIIIe siècle, trois contes du Jingu qiguan ont été traduits pour la première fois en Europe par un jésuite français. Dès lors, l’œuvre a connu de très nombreuses traductions partielles, retraductions et réécriture dans toute l’Europe. Seulement en langue française, il en existe déjà trente traductions partielles et une traduction intégrale, ainsi que de nombreuses réécritures de natures variées. Cela nous amène à nous interroger sur les raisons de ces traductions et retraduction, et à nous intéresser à leurs différentes réécritures. Qui les a traduits et comment ont-ils été traduits ? Ces contes ont-ils exercé quelque influence sur la littérature locale, et de quelle manière ? La présente étude a pour objectif de traiter toutes ces questions. / At the end of the Ming Dynasty, Baoweng laoren has selected forty tales of the three collections of Feng Menglong and two collections of Ling Mengchu to compile another anthology entitled Jingu qiguan 今古奇觀 (curious spectacles of today and of the past). This anthology was a huge success at the time of its publication, and is constantly reprinted for centuries until today. Today it is considered as a main representative work of Chinese literature in vernacular language. The reputation of Jingu qiguan has already exceeded the Chinese border since a long time. Since the 18th century, three tales of the Jingu qiguan were translated for the first time in Europe by a French Jesuit. Therefore, throughout the centuries, the Jingu qiguan has experienced a lot of partial translations, retranslations and adaptation across Europe. Only in French, there are about thirty translations, retranslations and rewrite of Jingu qiguan. So that leads us to wonder why these stories have constantly been translated and retranslated, or even rewritten. Who have translated them and how they have been translated? How these translations did had some influence in the local literature? This study is intended to cover all these issues.