This thesis relates fluvial morphology to those hydraulic conditions identified as being ideal for the rearing of juvenile Atlantic salmon. The suitability of flow depths and velocities were obtained from published habitat preference curves in order to compute the percent area (percent usable area - PUA) and average width (average usable width - AUW) of reaches providing ideal rearing habitat for juvenile Atlantic salmon at 2 typical summer discharge levels, in the Ste. Marguerite River. / By dividing reaches into smaller, morphologic unit's, in order to make the conditions more uniform, it was noticed that the wetted width and the amplitude of the vertical oscillation of riffles and pools (riffle-pool amplitude) provided the strongest hydraulic and morphologic relationships with the amount of usable habitat at the morphologic unit scale. Two regression models were produced to estimate the AUW of morphologic as a function of hydraulics and morphology, respectively. / The historic flood in July 1996 also provided an opportunity to examine some of the impacts of a large magnitude flood on channel morphology: localized bed and bank erosion, the destruction of riparian vegetation, the enhancement and destruction of individual bars, and localized changes in the hydraulic and morphologic character (induced by large sediment inputs).

Diferentemente das linhas adotadas por um bom número de trabalhos em Estudos da Tradução que têm por objetivo uma análise crítica de tradução ou uma tradução comentada, nosso projeto busca tratar a tradução, mais especificamente a tradução literária, não como um objeto em si, mas como parte integrante do processo de construção de uma obra. Para tanto, nosso pressuposto é a noção aristotélica de ato e potência. A nosso ver, a gênese da tradução literária, como potência, coincide com o início da escritura da obra, como ato, ou seja, a tradução literária é inerente à obra em estado virtual, como um ser em devir, podendo ou não vir a se materializar como obra traduzida. Sob essa ótica, acreditamos que toda e qualquer análise de tradução literária envolva um mergulho não apenas no contexto de sua produção e em seu produto final, mas também nos elementos que envolvem a produção da obra de partida. Baseando-nos nas noções de Dominique Maingueneu (2001) a respeito do contexto da obra literária e no alicerce linguístico em enunciação oferecido por Émile Benveniste (1976), pudemos associá-los a outras importantes contribuições, como os conceitos de posição tradutória, projeto de tradução e horizonte do tradutor propostos por Antoine Berman (1995) que, se observados relacionalmente dentro de cada espaço de negociação que constitui todo processo tradutório em suas diversas etapas, pressupõem necessariamente uma esfera ética. Ao adotarmos a noção proposta por Maurício Mendonça Cardozo (2007), baseando-se em Henrique C. de Lima Vaz (2015), que traz o conceito da palavra ética originalmente como lugar, podemos entendê-la como sendo a consciência da posição que se ocupa em uma dada relação o lugar de onde se fala e para quem se fala , oferecendo, assim, campo fértil para pensarmos efetivamente a ética da tradução como práxis e projetá-la em termos bermanianos. Sob esse arcabouço teórico, a questão das posições enunciativas emerge de maneira fundamentada para uma análise do caso específico da tradução Fires (1981), por Dori Katz, a partir da obra Feux (1936), de Marguerite Yourcenar, em que diversas são as variáveis, que não a relação isolada entre tradutor e texto de partida. Em Feux-Fires, aquilo que chamaremos de uma espiral de posições enunciativas compõe um quadro bastante particular em tradução literária. / Unlike the line adopted by many works in Translations Studies whose purpose are translations critical analysis or commented translations, our project aims at approaching translation, and more specifically literary translation, not as an object in itself, but as an integral part of the building process of a literary work. Assuming Aristotles concept of potency and act, in our view, the genesis of literary translation, as potency, coincides with the beginning of the literary works writing, as an act, i.e. , the literary translation is inherent to the literary work in a virtual state, as a being to be, whether it is eventually materialized as a translated literary work or not. From this perspective, we believe that each and every analysis of literary translation involves not only jumping into its context of production and its final product, but also into the elements surrounding the production of the source work. Based on the notions of Dominique Maingueneau (2001) about the context of the literary work and on the linguistic grounds offered by Émile Benveniste (1976), we managed to associate them to other important contributions, such as the concepts of translational position, translation project, and horizon of translation proposed by Antoine Berman (1995), which necessarily assume an ethical domain if regarded in a relational perspective within every negotiation space that constitutes each translation project in its many phases. By adopting the notion proposed by Maurício Mendonça Cardozo (2007) based on Henrique C. de Lima Vaz (1999), who presents the concept of the word ethics originally as a place, it may be understood as the awareness of the position one holds in a given relation the place where one speaks from and to whom , thus offering fertile ground for ethics in translation to be effectively viewed as praxis and to be projected in bermanian terms. Under this theoretical framework, the question of enunciative positions emerges in a well-founded way for an analysis of the particular case of the translation Fires (1981), by Dori Katz, of the work Feux (1936), byMarguerite Yourcenar, in which many are the variables, other than the isolated relation between the translator and the source text. In Feux-Fires, what we call a spiral of enunciative positions compose a very specific scenario in literary translation.

La thèse rend compte d’une tentative de repenser le rapport entre la pudeur et la littérature : non pas la pudeur dans la littérature ou une littérature de la pudeur mais le geste littéraire comme un geste de pudeur. Pour cela, la première partie de la thèse s’emploie à découvrir la pudeur (en français, en Occident), c’est-à-dire à tomber le voile des discours dogmatiques qui forgèrent le mythe d’une « pudeur féminine » depuis l’interprétation canonique de l’épisode biblique du « péché originel », pour mettre en évidence la nudité textuelle du sujet auctorial (du latin augeo qui signifie « augmenter » et qui donne le nom d’« auteur » en français). L’hypothèse est que sous le couvert d’une interdiction sexuelle et du voile posé sur le « féminin », la « pudeur féminine » dissimule une complexité générique : il s’agit de l’articulation problématique dont la littérature transporterait le secret entre les genres biologiques (humain-animal), les genres grammaticaux (masculin-féminin) et les genres du discours (religieux ou philosophique-littéraire). Dans une deuxième partie, la thèse examine les effets de la pudeur auctoriale à partir d’un corpus constitué de textes de Marguerite Duras et de Violette Leduc relevant des genres littéraires de l’intime mais dont la reprise fictionnelle est assumée par les auteurs : l’autobiographie (La Bâtarde et, dans une certaine mesure, L’Amant de la Chine du Nord), le journal et la lettre (Aurélia Steiner et L’Affamée). Cette étude est sous-tendue par deux axes de lecture qui mettent en évidence la déconstruction de « l’intérieur » à laquelle œuvre la pudeur : une responsabilité poétique et une franchise littéraire. / This thesis is an attempt to rethink the relationship between pudeur (a sense of shame) and literature : it is not about shame in literature or about the literature of modesty but about the literary act as an act of pudeur. The first part of the thesis is a discovery of modesty (in French, in the occident) ; in other words it is a dropping of the veil of the discourses which, since the canonical interpretations of « original sin » in the Bible, have forged the myth of a « female modesty ». This will highlight the textual nudity of the auctorial subject (« auctorial » : from the latin augere, meaning « to increase » which is at the root of the word for « author »). Under a covert sexual interdiction and a veil wrapped round the « feminine », female modesty dissimulates a generic complexity : the problematic articulation between species (human-animal), genders (male-female), and genres (religious or philosophical-literary) of which literature might hold the secret. In its second part the thesis examines the effects of pudeur auctoriale as revealed in a series of texts by Marguerite Duras and Violette Leduc. Among the intimate genres that these authors revisit in fiction there are : the autobiography (La Bâtarde and, to a certain extent L’Amant de la Chine du Nord), the diary and correspondence (Aurélia Steiner and L’Affamée). This study underlines the deconstruction from the inside towards which pudeur tends : a poetic responsibility and a literary honesty.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims at verify the implications in Marguerite Duras literary aesthetic by proposing the denial of representation, through transgression to the traditional narrative. Starting from three texts by Duras which dialogue with the cinematographic language Le camion (1977), Le Navire Night (1979) and La maladie de la mort (1983), this work, throughout three chapters, recognizes in these novels denounce writing, in which the language itself unveils and unmasks its mechanisms. The first chapter proposes the discussion about the different concepts of representation and the search of Duras writing for a possible beyond the truth of what the words hide. At a second moment, I reflect about the impossibility of Duras writing in express an absolute view about the world to be represented, where the dialogue with other languages is an attempt to overcome the condition of discontinuity appropriate to the existence. Finally, in the last chapter, the possible meanings in an aesthetic answer aiming at denying the representation is sought: Duras writing is recongnized as transgression and a refusal of the definitive. The demystifying sincerity to which Duras writing proposes to do, faces the collapse of rationality, with only the experience and limits of dissolution and certainty being left. / Este trabalho tem por objetivo verificar as implicações na estética literária de Marguerite Duras ao propor a negação da representação, através de transgressões à narrativa tradicional. A partir de três textos de Duras que dialogam com a linguagem cinematográfica, Le camion (1977), Le Navire Night (1979) e La maladie de la mort (1983), esse trabalho, ao longo de três capítulos, reconhece nesses textos uma escrita de denúncia, em que a própria linguagem se propõe a tirar máscaras e desvelar seus mecanismos. O primeiro capítulo propõe a discussão sobre diferentes conceitos de representação e a busca da escrita de Duras por um possível além da verdade que as palavras ocultam. Num segundo momento, buscase a reflexão acerca da manifesta impossibilidade da escrita de Duras em exprimir uma visão absoluta do mundo a ser representado, em que o diálogo com outras linguagens é uma tentativa de ultrapassar a condição de descontinuidade, própria da existência. Por fim, no último capítulo, questionam-se possíveis sentidos em uma proposta estética que visa a negar a representação: reconhece-se a escrita de Marguerite Duras enquanto transgressão e recusa ao definitivo. A sinceridade desmistificadora a que a escrita de Marguerite Duras se propõe depara-se com o desmoronamento da racionalidade, restando apenas ruínas da experiência e a dissolução de limites e certezas.

Ce travail comprend un avant-propos où nous présentons le personnage de Marguerite de Valois ainsi que celui d'Henri de Navarre. Composé de trois parties, il s'articule dans un premier temps autour de l'image perçue comme un message édifiant. Puis, la représentation de scènes de massacres est vue à travers le regard d'un homme de théâtre, Christopher Marlowe. Enfin la troisième partie trace l'imaginaire du romancier Alexandre Dumas et des metteurs en scène Jacques Dréville et Patrice Chéreau sur un même thème, celui de la Reine Margot. Dans cette recherche, la violence est sous-jacente dans sa force créatrice et angoissante avec l'exploration de la Saint-Barthélemy (1572). / This thesis is upon Marguerite de Valois, the Saint-Barthélemy (1572)and the violence in painting, novels and movies. The three parts show the evolution of mentality between painters in XVIe century, novelist in XIXe century and film directors in XXe century.

In this bachelor’s essay, I examine the importance of place in Marguerite Duras’ The Lover from 1984. By using an ecocritical approach I find that the concepts of “culture” and “nature”, or “human” and “environment”, are made undistinguished. I also find that colonialism is highly present, and the novel accords to the theories of the overlapping literary fields of ecocriticism and postcolonialism. Ecocritical postcolonialism maintains that non-white people have historically been likened to animals and thus have a similar relationship with colonisers as humans have with the non-human. In addition, I apply Michail Bachtin’s concept of the chronotope to the novel and conclude that the Mekong River, the Cholen district, the mother’s home, the desert, and France are the most significant chronotopes. They all represent time in some way – usually in the form of cultural history or the protagonist’s lifetime – and each one plays into the novel’s overarching views of colonialism and nature.

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Cette thèse s'avère une réflexion, selon une perspective intermédiale, sur l'espace audiovisuel et la représentation dans le cinéma de Marguerite Duras des années soixante-dix et quatre-vingts. En soulevant des questions qui sont au cœur de l'œuvre filmique de Marguerite Duras, comme la déambulation (écriture et espace), la perception de l'espace audio-visuel (l'écart entre la voix et l'image) et de la représentation du dispositif intermédial, ce travail met aussi l'accent sur le processus créateur. La déambulation sera envisagée sous deux aspects. Le premier se présente comme un motif récurrent dans l'œuvre de Marguerite Duras et se trouve dans les personnages qui marchent ou errent dans les villes fictives de l'imaginaire durassien. Le deuxième aspect inscrit la déambulation comme un mouvement au sein du processus créateur de l'œuvre durassienne, et dans ce sens elle sera traitée comme un procédé. La déambulation s'inscrit également dans une perception de l'espace, faisant émerger une poétique de la flânerie dans les films qui constituent notre corpus, notamment Les Mains négatives, Aurélia Steiner Melbourne, La Femme du Gange, Le Navire Nigth et Césarée. L'espace audio-visuel fait l'objet de la deuxième partie de la thèse. L'écart apparent entre le son et l'image du cinéma durassien sera abordé comme une combinaison audio-visuelle. Ainsi, l'audio et le visuel sont complémentaires; leur combinaison influence et transforme la perception du public. La thèse met l'accent sur la nature transmédiale de l'œuvre durassienne, suivant les emprunts, les échanges, les transferts qui s'opèrent du texte au film et du film au film. Nous considèrerons ces opérations transmédiales comme une forme de poétique du déplacement. Quant à la représentation, certains films de Marguerite Duras, dont Agatha et les lectures illimitées et L'Homme atlantique, oscillent entre les effets d'opacité et de transparence. Ces rapports transmédiaux seront abordés au final selon les phénomènes de la remédiation. / This thesis turns out to be a reflection, from an intermedial perspective, on the audiovisual space and on the representation of Marguerite Duras's cinema of the seventies and eighties. By raising questions that are at the heart of Marguerite Duras' filmic work, such as wandering (writing and space), the perception of audiovisual space (the gap between voice and image) and the representation of the intermedial device, this work also emphasizes the creative process. The déambulation will be considered from two aspects. The first highlights it as a recurring motif in Marguerite Duras's work, making itself felt in the characters who walk or wander in the fictional cities of the Durassian imagination. The second aspect inscribes the déambulation as a movement within the creative process of the Durassian work, and in this sense, it will be treated as a process. Thus, the déambulation is also part of a perception of space by arousing a poetics of strolling in the films that constitute our corpus, in particular Les mains negatives, Aurélia Steiner Melbourne, La Femme du Gange, Le Navire Nigth and Césarée. The audio-visual space is the subject of the second part of the thesis. The apparent gap between sound and image in Durassian cinema will be approached as an audio-visual combination. Thus, the audio and the visual are complementary; their combination influences and transforms public perception. We will again emphasize the transmedial nature of the work, taking into account the exchanges, the transfers that transit from text to film and from film to film. We consider these transmedial operations as a poetics of displacement. As for representation, certain films by Marguerite Duras, such as Agatha et les lectures illimitées and L'Homme atlantique oscillate between the effects of opacity and transparency. These transmedial relationships will be approached according to the phenomena of remediation.

Texte remanié de : Thèse de doctorat : Littérature française : Paris 4 : 2006. Texte remanié de : Thèse de doctorat : Littérature française : Bâle : 2006. / Bibliogr. p. [433]-459. Index.