Os dois últimos romances escritos por Eça de Queirós, A ilustre casa de Ramires (1900) e A cidade e as serras (1901) publicados em livro apenas após a morte do autor continuam a desafiar a crítica queirosiana em razão do seu conteúdo e forma que os distanciam da produção anterior desse escritor português. A presente pesquisa analisou os dois romances a partir do marco metodológico da teoria crítica formulada pela Escola de Frankfurt, a fim de verificar se a forma adotada neles não estaria antecipando o romance-ensaio, gênero cujo amadurecimento se daria a partir das vanguardas europeias do século XX . Pôdese constatar pelos resultados da pesquisa que o uso da estrutura mise en abîme na primeira obra e de estratégias ensaísticas na segunda possibilitou ao autor um altíssimo rendimento literário e irônico, através do qual o leitor perspicaz tem acesso a uma representação crítica do empreendimento neocolonial e da ideologia burguesa que o justifica. / The last two novels by Eça de Queirós, A ilustre casa de Ramires (1900), and A cidade e as serras (1901), both of them published in book form only after the author\'s death, continue to challenge the criticism, because of their content and form, which point to a dissociation between them and the previous work by this Portuguese writer. The present study has examined these two novels based on methodological point of view of critical theory, according to Frankfurt School. We searched to verify if the form adopted in these narratives would be an anticipation of the novel-essay, a genre whose maturity would occur in the European avantgarde in the twentieth century. The results of this research have indicated that the use of mise en abîme structure in the first novel, and of essayistic strategies in the second one confer the writer a very high literary and ironic result, by which the astute reader are able to explore a critical presentation of the neocolonial project, and bourgeois ideology that justifies it.

Made available in DSpace on 2014-07-29T16:29:28Z (GMT). No. of bitstreams: 1 Tese Ronaldo Elias Borges.pdf: 1411235 bytes, checksum: 9b7a3b117dc4afbd6b13ca78731aac31 (MD5) Previous issue date: 2009-09-14 / This study aims at analyzing the theme of the double in four novels written by Roberto Drummond: Ontem à noite era sexta-feira (1988), Hilda Furacão (1991), Inês é morta (1993) and O Cheiro de Deus (2001). Based on the examination of the procedures used by the author to constitute the double in the works previously mentioned, we verified that this element was mostly used by characters who were either their own double or twin brothers. When it comes to the first case, we can observe it in Inês é morta; the second one, in Ontem à noite era sexta-feira as well as in O cheiro de Deus. In addition to this, it is relevant to point out that in our study, we found out that Roberto Drummond duplicated both his characters as his own writing, constituting what we call, in this study, as the double of the writing. We analyzed such narrative strategy in the following novels: Hilda Furacão, Ontem à noite era sexta-feira and O cheiro de Deus. For the development of this study, we learned on the studies carried out by the following authors: Nicole Bravo, Yves Pélicier and Ana Maria Lisboa de Mello as far as the myth of the double is concerned and in the considerations made by Sigmund Freud, Otto Rank and Clément Rosset in relation to the splitting of the Self, as well as in Lucien Dällenbach s and Linda Hutcheon s reflections about the narrative procedures concerning mise en abyme and metafiction respectively. / Este trabalho examina o tema do duplo em quatro romances de Roberto Drummond: Ontem à noite era sexta-feira (1988), Hilda Furacão (1991), Inês é morta (1993) e O Cheiro de Deus (2001). A partir do exame dos procedimentos formais utilizados pelo autor, para configurar o duplo em tais obras, verificamos que esse elemento foi representado, principalmente, por personagens sósias e gêmeos. O primeiro caso ocorre em Inês é morta; o segundo, em Ontem à noite era sexta-feira e em O Cheiro de Deus. Além disso, constatamos que Roberto Drummond duplica não apenas personagens, mas também a própria escrita, constituindo o que denominamos, neste estudo, duplo da escrita. Analisamos tal estratégia narrativa nos romances: Hilda Furacão, Ontem à noite era sexta-feira e O Cheiro de Deus. Esta pesquisa apóia-se nos escritos de Nicole Bravo, Yves Pélicier e Ana Maria Lisboa de Mello, no que diz respeito à conceituação do referido tema, nas considerações de Sigmund Freud, Otto Rank e Clément Rosset com relação ao tema da cisão do Eu, e nas reflexões de Lucien Dällenbach e Linda Hutcheon no que concerne aos procedimentos narrativos da mise en abyme e da metaficção, respectivamente.

L'objectif de cette thèse consistait à déterminer la nature des aménagements liés à l'adaptation à l'artillerie à poudre de l'ensemble fortifié de Coucy, en particulier de la ville, et à appréhender chronologiquement ces développements. Il n'existait pas, en amont de ce travail, d'étude archéologique et architecturale d'envergure relative à cette période et portant sur ces questions. La destruction des archives municipales lors de la Première Guerre mondiale, puis celle des archives départementales lors du conflit suivant, explique en partie ce manque. Un bilan des connaissances s'est donc imposé. Ce travail devait déterminer le contexte historique d'émergence des travaux et les conditions dans lesquelles les chantiers se sont déroulés. Parallèlement, la compréhension du système de mise en défense de Coucy passait aussi par l'étude de ses acteurs. Notre démarche visait à confronter les données matérielles de terrain et les données testimoniales, iconographiques et graphiques. Les données matérielles ont été récoltées directement sur le terrain par le biais d'une analyse archéologique du bâti complétée par des fouilles archéologiques sur deux secteurs de l'enceinte urbaine à fort potentiel. Enfin, à travers un corpus de sites fortifiés soigneusement choisis pour lesquels des mentions d'aménagements existent, il a été possible de comparer les différentes solutions défensives à l'échelle régionale et d'éclairer certains travaux propres à Coucy et mal datés. De plus, cette méthode devait clarifier le rôle stratégique de la place. À l'issue de ces travaux, nous sommes désormais en mesure de proposer une image plus précise de l'évolution défensive de la place et d'en comprendre les enjeux. / The present thesis aimed at investigating the site evolution related to the adaptation to the powder artillery in the fortification of Coucy, in particular the city walls, and at identifying the chronology of this evolution. Prior to this work, there was no strong enough archeological study for this period and dealing with these matters. The destruction of the municipal archives during the first world war, and of the departmental ones along the following conflict, partially explains this lack of data. Therefore, a report on current knowledge was necessary. This work had to determine the historical context of emergence of the fortification work, and the conditions under which it was carried out. In parallel, understanding the defensive system of Coucy required the study of ail players involved. Our approach consisted in confronting material and testimonial data. Material data were directly collected on the field and treated by a building archeology analysis, completed by excavations on two sectors of the city walls with great potential. Finally, the evolution of the fortifications in Coucy was better understood by a comparative analysis. Indeed, through a carefully chosen corpus of fortified sites, it has been possible to compare the local defensive solutions with the regional ones and to define and properly date some work related to Coucy. Furthermore, this method had to clarify the strategic rule of Coucy. To conclude, the present work allowed us to offer a clearer picture of the defensive development of Coucy, and to understand the related stakes.

This qualitative study aims to explore, from a cognitive perspective, the influence visuals have on conveying the game's narrative and how this engages the player. The focus being to further the understanding of how both visuals and narrative affect the overall experience. Motivated by the underrepresentation of visuals and narrative studies within game research. At the centre of the study is a thematic analysis of qualitative data collected from face to face interviews in a home and school environment, where players shared memorable moments experienced while playing a game. The interviews were complemented by data from popular forums, with the same focus. Helping the analysis of the data were cognitive theories into how our minds process and interpret information, an analysis which resulted in five main themes with corresponding code, which represented what appeared central for the creation of the memorable moment. There were, however, always more than one element within the game which provided and engaged the player in the narrative construction of the memorable moment, which served to highlight the importance of considering all aspects of the design, as all affected our meaning making. Central to engaging the player's narrative construction was the intrinsic motivation of curiosity, in tangent with our desire to learn. Exactly how different visuals elements affected the player's narrative construction did not become apparent during the analysis, as a fine line existed between what element provided for different memorable moments. Most notably was that all of the themes and codes could be tied back to engagement, as all of them served to engage the player's meaning making. A discovery that in turn, lead to the creation of a framework for future studies, which, while supported by cognitive theories, aims to enable the discovery of what and how different aspects engage the player in the experience. / Målet med denna kvalitativa studie är att, utifrån ett kognitivt perspektiv, utforska inflytande det visuella har på att förmedla spelets narrativ och hur detta engagerar spelaren i upplevelsen. Fokuset är att utveckla förståelsen för hur det visuella och narrativet påverkar den övergripande upplevelsen, vilket är motiverat av underrepresentationen av studier med fokus på det visuella och narrativet inom spelforskning. I centrum av studien är en tematisk analys av den kvalitativa data som samlats in från intervjuer i en hem och skolmiljö, där deltagarna delade minnesvärda stunder från när de spelade spel. Intervjuerna kompletterades med data från populära forum med samma fokus. Kognitiva teorier om hur man bearbetar och tolkar information, fick ge stöd till analysen av spelarnas meningsskapande som resulterade i fem huvudteman med motsvarande koder, som representerade det som framstod som det centrala i skapandet av de minnesvärda stunderna. Det fanns dock alltid mer än ett element i spelet som bidrog och engagerade spelaren i den narrativa konstruktionen av det minnesvärda ögonblicket, vilket lyfter fram vikten av att uppmärksamma alla aspekter av designen, eftersom alla påverkade meningsskapandet. Centralt för att engagera spelarnas narrativa konstruktion var vår inre motivation av nyfikenhet, i kombination med vår vilja att lära oss. Exakt hur de olika visuella elementen påverkade spelarens narrativa konstruktion framkom dock inte under analysen, eftersom gränsen mellan vilka element som bidrog med de olika minnesvärda stunderna, var hårfin. Det tydligaste exemplet av detta är att alla teman och koderna kunde knytas tillbaka till engagemang, eftersom alla bidrog till att engagera spelaren meningsskapande. En upptäckt som i sin tur ledde till skapandet av ett ramverk för framtida studier, som vars mål är, med stöd av kognitiva teorier, att möjliggöra upptäckten av hur de olika aspekterna engagerar spelaren i upplevelsen.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

La mise à jour dynamique des programmes consiste en la modification de ceux-ci sans en arrêter l'exécution. Cette caractéristique est primordiale pour les applications critiques en continuelles évolutions et nécessitant une haute disponibilité. Le but de notre travail est d'effectuer la vérification formelle de la correction de la mise à jour dynamique d'applications Java Card à travers l'étude du système EmbedDSU. Pour ce faire, nous avons premièrement établi la correction de la mise à jour du code en définissant une sémantique formelle des opérations de mise à jour sur le code intermédiaire Java Card en vue d'établir la sûreté de typage des mises à jour. Nous avons ensuite proposé une approche pour vérifier la sémantique du code mis à jour à travers la définition d'une transformation de prédicats. Nous nous sommes ensuite intéressés à la vérification de la correction concernant la détection de points sûrs de la mise à jour. Nous avons utilisé la vérification de modèles. Cette vérification nous a permis de corriger d'abord un problème d'inter blocage dans le système avant d'établir d'autres propriétés de correction : la sûreté d'activation et la garantie de mise à jour. La mise à jour des données est effectuée à travers les fonctions de transfert d'état. Pour cet aspect, nous avons proposé une solution permettant d'appliquer les fonctions de transfert d’état tout en préservant la consistance du tas de la machine virtuelle Java Card et en permettant une forte expressivité dans leurs écritures. / Dynamic Software Updating (DSU) consists in updating running programs on the fly without any downtime. This feature is interesting in critical applications that are in continual evolution and that require high availability. The aim of our work is to perform formal verification the correctness of dynamic software updating in Java Card applications by studying the system EmbedDSU. To do so, we first established the correctness of code update. We achieved this by defining formal semantics for update operations on java Card bytecode in order to ensure type safety. Then, we proposed an approach to verify the semantics of updated programs by defining a predicate transformation. Afterward, we were interested in the verification of correction concerning the safe update point detection. We used model checking. This verification allowed us first to fix a deadlock situation in the system and then to establish other correctness properties: activeness safety and updatability. Data update is performed through the application of state transfer functions. For this aspect, we proposed a solution to apply state transfer functions with the preservation of the Java Card virtual machine heap consistency and by allowing a high expressiveness when writing state transfer functions.

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Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-10-05T13:08:07Z No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:24:55Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:25:03Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Made available in DSpace on 2016-10-20T19:25:07Z (GMT). No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) Previous issue date: 2016-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The purpose of this research is to make an analysis of the themes and aesthetics of the film Persona, from Ingmar Bergman, 1966. The first chapter is my analysis of the work, following the model of the writers Anne Goliot-Lété and Francis Vanoye, and the second chapter discusses the critical texts, analysis and interviews connected to the film. I also discussed the difficulties related to the interpretation of movies, and I tried in my own analysis to be very close to the movie itself, despite the tentations to invent more. / A pesquisa tem como objetivo fazer uma análise estilístico-temática do filme Persona, de Ingmar Bergman, 1966. O primeiro capítulo é a minha análise da obra, seguindo o modelo dos escritores Anne Goliot-Lété e Francis Vanoye, e o segundo trata da discussão de textos críticos, de análises e entrevistas ligados à obra. Busquei nesse trabalho discutir as dificuldades ligadas à interpretação de uma obra cinematográfica, atendo-me à questão de não deixar de lado a leitura do filme em si, a despeito das tentações que certos temas e rastros estilísticos podem despertar.

En linguistique, la politesse vise la préservation de l’harmonie interactionnelle. Que se passe-t-il dans les situations où le dissensus se trouve au cœur des échanges, tel le cas de nos talk-shows ? Le rôle de l’impolitesse, de la violence et leurs rapports à la politesse dans On n’est pas couché et Tout le monde en parle ont constitué le point de départ de notre recherche. Le présent travail est une analyse du système de la politesse confronté aux défis des émissions mentionnées, défis qui nous ont amenée à explorer la dichotomie politesse-impolitesse et qui nous ont conduite à articuler ces dernières avec les notions d’adéquation au contrat de communication, de violence et de mise en scène.Afin de rendre compte du fonctionnement de ces phénomènes, deux démarches nous ont semblé nécessaires. Premièrement, abandonner la conception selon laquelle la politesse désignait les comportements jugés adéquats et l’impolitesse était conçue comme sa « contrepartie » négative. Deuxièmement, tenter de « re-conceptualisation » la notion d’adéquation aux normes tout en allant au-delà des classements rigides et des formules conventionnelles polies ou impolies.Partant de ces réflexions, nous nous sommes fixé une double ambition : dans le premier volet, nous avons voulu aménager le cadre théorique de la politesse ─ qui, appliqué à notre corpus, présentait certaines insuffisances ─, et formuler des critères pour l’évaluation des notions présentées. Ainsi, nous avons proposé, avec prudence et modestie, un cadre et des outils théoriques adaptés à nos talk-shows. Dans le second volet, nous avons analysé ─ manipulant les outils présentés et nous appuyant sur ce nouveau cadre ─, le fonctionnement du système de la politesse ainsi que les mises en scène de la parole polie, impolie et violente. / In linguistics, politeness, considered omnipresent, aims at preserving the interactional and interpersonal harmony. But what happens when conflict is at the very heart of verbal interactions, as is the case with our talk-shows? The role of impoliteness and violence, as well as their relationship with politeness in “On n’est pas couché” and “Tout le monde en parle” are to be considered as the starting point for our research. Thus, the present work is an analysis of the notion of politeness confronted to the “challenges” raised by the televised shows mentioned above, an analysis in which we explored the politeness/impoliteness dichotomy that we articulated, thereafter, with the notions of appropriateness (in respect to the communication contract), violence and representation or “mise-en-scène”.In order to give a proper account of the functioning of these phenomena, firstly, we gave up the general view according to which politeness was defined as adequate behaviour while impoliteness was seen as its negative counterpart. Secondly, we tried to reconceptualise the notion of appropriateness going beyond rigid classifications or conventionalised polite and impolite formula.Given these considerations, we established a twofold objective. On the one hand, we tried to adjust the theoretical framework of politeness that, applied to our data, presented certain deficiencies, and to come up with some evaluation criteria for the analysed notions; consequently, we modestly and prudently proposed a framework and several theoretical “tools” adapted to our talk-shows. On the other hand, we analysed ─ using the presented tools and framework ─, the mechanisms of politeness and impoliteness as well as the divers “mises-en-scène” of polite, impolite and violent speech.

Appréhender l’oeuvre de Luchino Visconti à partir de la notion d’espace, alors même que l’homme et le corps de l’acteur semblent être au centre de l’art du metteur en scène, permet de dégager aussi bien les correspondances existant entre théâtre, cinéma et opéra et les spécificités de chacun de ces arts que le dialogue qui s’établit entre les éléments et les influences de chaque création. La polysémie du terme “espace” autorisera en outre à l’envisager tant d’un point de vue matériel (espace scénique, espace(s) cinématographique(s))que temporel (inscription dans un espace-temps caractérisable d’un point de vue historique et/ou social, imbrications de temporalités multiples), tant sous l’angle philosophique(spatialité relative à la perception et à l’idée de finitude, espace mental) qu’artistique(influences littéraires, picturales, musicales notamment). L’espace apparaît ainsi comme une donnée sensible à partir et à l’intérieur de laquelle naît la représentation : il permet alors non seulement de contextualiser l’intrigue à travers des lieux réels se référant à un espace-temps déterminé mais encore de poser une atmosphère propice à l’apparition du personnage et au surgissement d’un monde imaginaire dont l’intensité favorise l’explosion de “vérité”. De cet ensemble se dégagera une esthétique faite de jeux de reflets et d’interpénétration visant à l’établissement d’un spectacle total, en un dialogue des arts toujours renouvelé. / The apprehension of the oeuvre of Luchino Visconti from the perspective of the concept of space –when the actor as man and his corporal presence would seem to lie at the very heart of the director’sart – throws light on both the relations which obtain between theater, cinema and opera and the factors specific to each of these arts, as well as the dialogue which is established between the elements and the influences of each creation. The polysemic nature of the term “space” moreover justifies an approach considering it from both a material point of view (stage space, cinematographic space(s)) and a temporal perspective (as an component part of a space-time identifiable from an historical and/orsocial point of view, the interweaving of multiple temporalities), from both a philosophic angle (a spaciality relative to perception and to the idea of finiteness, mental space) and an artistic perspective(notably literary, pictorial and musical influences). Space thus appears as a perceptible factor ordonnée out of which, and inside which, the performance is born: it allows not only the contextualization of the plot through the real settings referring to a given space-time, but equally thecreation of an atmosphere conducive to the appearance of the character and to the bringing intoexistence of an imaginary world whose intensity furthers the explosion of “truth”. Out of this composite whole emerges an esthetic vision composed of the play of reflections and interpenetrationaspiring to the creation of a total spectacle, in a constantly renewed dialogue of the arts.