Dans l'optique de préparer des vitrimères à partir des thermoplastiques communément utilisés, tels le PMMA et le PS, des réactions d'échange dynamiques reposant les liens imine et esters boroniques ont été étudiées. Des paramètres importants comme la constante de dissociation de certaines molécules, la constante de vitesse et l'énergie d'activation ont été mesurées. Des monomères porteurs de liaisons échangeables ont été synthétisés et polymérisés. Des vitrimères, avec des liaisons C-C dans la chaine principale, ont été créés par différentes stratégies (PMMA et PS). Ces matériaux sont réticulés et insolubles avec un plateau caoutchouteux mais également façonnables et recyclables par moulage par compression ou par injection. Ces vitrimères peuvent relaxer les contraintes et couler à une température supérieure à celle de leur transition vitreuse. Des viscosités de 105-107 Pa.s ont été estimées pour les vitrimères PMMA reposant sur la chimie des esters boroniques. Des tests de traction montrent que leurs propriétés mécaniques de ces matériaux ne subissent pas de baisse significative après plusieurs cycles de recyclage par moulage par injection. Même après plusieurs cycles de moulage, les vitrimères basés sur la chimie des esters boroniques peuvent être complètement dé-réticulés, signe de leur stabilité à haute température lors du moulage. Ces vitrimères ont une résistance supérieure dans les conditions "d'environmental stress cracking" comme des réseaux polymères conventionnels. / With the aim to generate vitrimers from commonly used thermoplastics with carbon-carbon based backbones, such as PMMA and PS, dynamic covalent exchange reactions relying on Schiff’s bases and boronic esters were investigated. Two different approaches, i.e. crosslinking in solution or in extrusion, were used. These materials are processable via extrusion, compression and injection molding like their thermoplastic counterparts. The crosslinked nature of these systems was confirmed by solubility tests and DMA. Rheological measurements revealed the vitrimers ability to flow and viscosities between 105-107 Pa.s for boronic ester based PMMA vitrimers were measured. Consecutive tensile testing/reprocessing sequences proved the full recyclability of these vitrimers, and selective cleavage of the vitrimer networks followed by precise chemical analyses showed the thermal and chemical stabilities of vitrimers relying on boronic ester bonds. The stress cracking resistance of these vitrimers was significantly higher than that of parent thermoplastics, as can be expected for crosslinked systems.

La mise à disposition est une notion récente – à l’échelle du droit français – qui n’a réellement intégré le domaine juridique qu’au siècle dernier. A travers elle, c’est le phénomène d’évolution de la langue juridique qui peut être observé, les raisons et le processus de l’intégration d’un terme de la langue courante au sein du langage juridique. Par ailleurs, l’ampleur et la rapidité avec lesquelles la locution « mise à disposition » s’est répandue dans les textes du droit français montrent à quel point la formule répond à un besoin des praticiens. Pourtant, la notion de mise à disposition ne présente, à première vue, aucune cohérence et son utilisation normative recèle de nombreuses contradictions. L’étude approfondie de la mise à disposition permet toutefois de découvrir une notion homogène sous la forme d’une « licence d’utilisation », notion qui appelle un régime particulier. La mise en exergue par l’étude de la mise à disposition de certaines singularités juridiques ouvre d’ailleurs la voie à une réflexion plus large portant sur la pertinence de certaines classifications classiques, notamment quant aux catégories de choses et quant à la distinction droits réels / droits personnels. / The provision is a recent notion - across the French law - which has really integrated the legal scope in the last century. Through it, the phenomenon of legal language evolution can be observed, the reasons and the process of integrating a term of the current language in the legal language. Moreover, the extent and speed with which the "provision" phrase has spread in the texts of French law show how the formula meets the need of practitioners. Yet the notion of providing presents, at first glance, no consistency and normative use conceals many contradictions.However, the comprehensive study of the provision give the opportunity to discover a homogeneous concept as a "license to use" concept that calls a special regime. The discovery of certain legal singularities also opens the way for a broader reflection on the relevance of certain conventional classifications, particularly as regards the categories of things and on the distinction real rights / personal rights.

A presente dissertação aborda o tema da constituição da noção de espaço na psicanálise tomando como central um caso clínico de uma paciente atendida em um ambulatório de saúde mental na rede pública do município de Porto Alegre. Tendo em vista que tempo/espaço são categorias indissociáveis no campo das ciências humanas, a pesquisa aborda os momentos da constituição do sujeito em que a organização e estruturação dessas variáveis estão em causa. Privilegiando o conceito de espaço como efeito da posição do sujeito na linguagem, o texto desenvolve as relações entre percepção e representação presentes nas formações delirantes. A partir da experiência clínica, pretende discutir algumas importantes formulações teóricas no campo da psicanálise ao mesmo tempo em que compõe uma escrita de caso. Utiliza como elemento privilegiado nesse diálogo o livro de literatura “Noite do Oráculo”, do escritor americano Paul Auster, em função da estrutura presente na narrativa. As relações que o escritor estabelece entre leitor/escritor/personagem compõe um universo narrativo semelhante ao da transferência clínica na psicose. A partir desses elementos aborda o tema das diferenças entre ficção e delírio no que diz respeito às diferenças nas formações narrativas. / This dissertation addresses the issue of development of the concept of space in psychoanalysis taking as central the clinical case of a patient treated at a public mental health clinic in the city of Porto Alegre. Given that time/space are inseparable categories in the field of human sciences, the research addresses the moments of the development of the subject in which the organization and structuring of these variables are concerned. Emphasizing the concept of space as an effect of the position of the subject in language, the text develops the relationship between perception and representation present in delusional formations. From clinical experience, it intends to discuss some important theoretical formulations in the field of psychoanalysis while composing a case study. It uses the literary work of the American writer Paul Auster "Oracle Night" as a privileged element in this dialogue as a representation of the structure present in the narrative. The relationships established between reader/writer /character composes a narrative universe similar to the transfer in clinical psychosis. From these elements it addresses the issue of the differences between fiction and delusion with regard to the narrative configuration.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-13T15:18:05Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.docx: 9189974 bytes, checksum: 29339496b1219b1498511af60925970d (MD5) / Rejected by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: 1 - O formato do arquivo deve ser em PDF. Agradecemos a compreensão on 2018-09-14T12:59:08Z (GMT) / Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-14T18:24:38Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.pdf: 4497219 bytes, checksum: 55da3c3f476f9427ecd58c594330f2cf (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-09-18T12:31:31Z (GMT) No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) / Made available in DSpace on 2018-09-18T12:31:31Z (GMT). No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) Previous issue date: 2018-08-22 / Este estudo mostra como o Romantismo alemão influenciou e moldou uma geração de filmes que se transformaram em ícones da cinematografia mundial e constituíram um gênero próprio de seu tempo, o expressionismo. Através da metodologia de análise cinematográfica de Vanoye e Goliot-Lété, apoiada pela concepção de contextualização histórica de Marc Ferro, apresenta-se uma leitura dos aspectos românticos presentes nos filmes O Gabinete do Dr. Caligari (1919), de Robert Wiene, O Golem – Como veio ao mundo (1920), de Paul Wegener, e Nosferatu (1922), de F. W. Murnau. A análise evidencia que essa influência está presente em todos os aspectos dos filmes, sendo notada nas narrativas, na estética e no uso das técnicas cinematográficas, construindo uma mise-en-scène que estabelece uma atmosfera para cada obra e revela uma crítica em relação à modernidade. / This study shows how Romanticism influenced and shaped a generation of movies that became icons of the world cinematography and constituted a genre of its time, the expressionism. Through Vanoye and Goliot-Lété film analysis methodology, supported by Marc Ferro’s conception of historic contextualization, it presents an interpretation of the romantic aspects present on the following movies: The Cabinet of Dr. Caligari (1919), by Robert Wiene, The Golem (1920), by Paul Wegener, and Nosferatu (1922), by F. W. Murnau. The analysis evince that this influence is present in all aspects of the movies, being noted in narrative, aesthetics and in the use of cinematography techniques, building a mise-en-scène that creates an atmosphere for each work and reveals a criticism about the modern times.

Dans cette thèse, nous étudions les architectures 3D NoC grâce à des implémentations de conception physiques en utilisant la technologie 3D réel mis en oeuvre dans l'industrie. Sur la base des listes d'interconnexions en déroute, nous procédons à l'analyse des performances d'évaluer le bénéfice de l'architecture 3D par rapport à sa mise en oeuvre 2D. Sur la base du flot de conception 3D proposé en se concentrant sur la vérification temporelle tirant parti de l'avantage du retard négligeable de la structure de microbilles pour les connexions verticales, nous avons mené techniques de partitionnement de NoC 3D basé sur l'architecture MPSoC y compris empilement homogène et hétérogène en utilisant Tezzaron 3D IC technlogy. Conception et mise en oeuvre de compromis dans les deux méthodes de partitionnement est étudiée pour avoir un meilleur aperçu sur l'architecture 3D de sorte qu'il peut être exploitée pour des performances optimales. En utilisant l'approche 3D homogène empilage, NoC topologies est explorée afin d'identifier la meilleure topologie entre la topologie 2D et 3D pour la mise en œuvre MPSoC 3D sous l'hypothèse que les chemins critiques est fondée sur les liens inter-routeur. Les explorations architecturales ont également examiné les différentes technologies de traitement. mettant en évidence l'effet de la technologie des procédés à la performance d'architecture 3D en particulier pour l'interconnexion dominant du design. En outre, nous avons effectué hétérogène 3D d'empilage pour la mise en oeuvre MPSoC avec l'approche GALS de style et présenté plusieurs analyses de conception physiques connexes concernant la conception 3D et la mise en œuvre MPSoC utilisant des outils de CAO 2D. Une analyse plus approfondie de l'effet microbilles pas à la performance de l'architecture 3D à l'aide face-à-face d'empilement est également signalé l'identification des problèmes et des limitations à prendre en considération pendant le processus de conception. / In this thesis, we study the exploration 3D NoC architectures through physical design implementations using real 3D technology used in the industry. Based on the proposed 3D design flow focusing on timing verification by leveraging the benefit of negligible delay of microbumps structure for vertical connections, we have conducted partitioning techniques for 3D NoC-based MPSoC architecture including homogeneous and heterogeneous stacking using Tezzaron 3D IC technlogy. Design and implementation trade-off in both partitioning methods is investigated to have better insight about 3D architecture so that it can be exploited for optimal performance. Using homogeneous 3D stacking approach, NoC architectures are explored to identify the best topology between 2D and 3D topology for 3D MPSoC implementation. The architectural explorations have also considered different process technologies highlighting the wire delay effect to the 3D architecture performance especially for interconnect-dominated design. Additionally, we performed heterogeneous 3D stacking of NoC-based MPSoC implementation with GALS style approach and presented several physical designs related analyses regarding 3D MPSoC design and implementation using 2D EDA tools. Finally we conducted an exploration of 2D EDA tool on different 3D architecture to evaluate the impact of 2D EDA tools on the 3D architecture performance. Since there is no commercialize 3D design tool until now, the experiment is important on the basis that designing 3D architecture using 2D EDA tools does not have a strong and direct impact to the 3D architecture performance mainly because the tools is dedicated for 2D architecture design.

La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique. / The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content.

The present research aims to think about the film Stalker, by the Russian director Andrei Tarkovski, from the concept of experience of the philosopher Walter Benjamin. The study was based on the analysis of the film's mise-en-scène, in order to think of it as a power to break the automatism and to perceive the images as a way of "feeling" life - a concept present in the reflection text of Viktor Chklovsky Art as procedure / Submitted by José Ricardo da Rocha Cacciari (jose.cacciari@unisul.br) on 2017-10-27T22:55:44Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) / Approved for entry into archive by Karina Ramos Wagner (wagner.karina@unisul.br) on 2017-11-06T10:46:31Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) / Made available in DSpace on 2017-11-06T10:46:31Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Stalker, de Andrei Tarkovski, e a Mise-en-scène cono forma de experiência.pdf: 2448360 bytes, checksum: 90f377f87116b0361920f7cd899a0cf2 (MD5) Previous issue date: 2017 / A presente pesquisa tem como objetivo pensar o filme Stalker, do diretor russo Andrei Tarkovski, a partir do conceito de experiência do filósofo Walter Benjamin. O estudo se pautou pela análise da mise-en-scène do filme, de forma a pensá-la como potência de quebra do automatismo e de percepção das imagens como forma de “sentir” a vida - conceito presente no texto de reflexão de Viktor Chklovski A arte como procedimento.

La thèse porte sur la maladie mentale dans les écritures dramatiques contemporaines d’expression française ainsi que son incidence sur la mise en scène. Le théâtre s’est toujours intéressé à la maladie mentale, et pour certains chercheurs l’art dramatique va même trouver son origine dans celle-ci, à travers des rituels consacrés à la transe et aux rêves. Après un rappel des grands « fous » qui peuplent l’histoire du théâtre européen, que ce soit dans les tragédies grecques, le théâtre shakespearien ou le théâtre classique (nous verrons ainsi que la « folie » sur scène est un thème qui a traversé les siècles), nous nous focaliserons sur une période d’ « ultra-contemporanéité » : en effet, l’essentiel de la thèse portera sur des pièces ne remontant pas au-delà du début des années quatre-vingt. Cela nous permettra de voir que malgré la démocratisation de la psychanalyse, de la psychiatrie et de la psychologie, toutes ces disciplines restent fascinantes et un peu mystérieuses, et que les auteurs aiment à manipuler l’ambigüité entre maladie mentale et originalité du comportement. / The thesis is about mental disorders in French contemporary drama as well as their representations on stage. Theatre has always been concerned by mental diseases and for some researchers origins of the dramatic art have to be found in rituals and dreams. After a recall of the most famous “fools” presents in the history of European drama (Greek tragedies, Shakespeare’s plays or classic French drama) – we will see that “madness” is a long-lasting theme. We will focus on contemporary period: in fact, this thesis studies plays which were written since the beginning of the eighties. We could see that, despite the democratization of psychoanalyse, psychiatry and psychology, they all remain mysterious and fascinating. Playwrights like to use ambiguities about mental disorders and original behaviour.

Orientador: Heloisa Costa Milton / Banca: Lea Mara Vallese / Banca: Antônio Roberto Esteves / Banca: Adelaide Caramuru Cezar / Banca: Frederico Augusto Garcia Fernandes / Resumo: O universo da criação literária de Moacyr Scliar (1937 - ) funda-se na recriação paródica do insólito filtrado pela visão irônica do escritor, que emprega o recurso da mise-en-abyme para estruturar sua poética. Para comprovar essa afirmação, selecionamos três novelas: Mês de cães danados: uma aventura nos tempos de Brizola (1977), A mulher que escreveu a Bíblia (1999) e Os leopardos de Kafka (2000). Nas obras citadas, enfatizamos a ironia como princípio da carnavalização na relação paródica entre a ficção e a história do Brasil, a Bíblia e a Revolução Russa, respectivamente. A intensidade da ironia scliariana é característica de uma espécie de parábola contemporânea, que combina a fantasia com a tragicômica realidade. Quanto ao aspecto estrutural das novelas, trata-se da especularidade narrativa, configurada pela mise-en-abyme, como postula Dällenbach (1977), uma vez que tal processo constitui um dos sustentáculos de apropriação do insólito pela ironia da paródia. / Abstract: Moacyr Scliar's literature is based on the parody of the unusual filtered by the ironic author's view that uses the mise-en-abyme technique to organize his art of writing poems. In order to support this statement, three novels were analysed: Mês de cães danados: uma aventura nos tempos de Brizola (1977), A mulher que escreveu a Bíblia (1999) and Os leopardos de Kafka (2000). In these works, irony was concerned as principle of caranivalization in the relation between fiction and Brazilian history, the Bible and the Russian Revolution respectively. The intensity of the author's irony is the characteristic of a kind of contemporary parable that matches fantasy with the tragicomic reality. The organization of the novels is focused on the narrative refletion, formed by mise-en-abyme, as Dällenbach (1977) postulates, since such process is considered one of the supports of the unusual appropriateness by the irony of parody. / Doutor