Nous nous sommes interrogée sur l’influence des pratiques langagières de l’enseignant sur l’appropriation de la langue orale chez des élèves entre quatre et cinq ans dans le cadre de narrations. L’objectif de notre travail est double : caractériser les interactions dans le cadre d’un échange duel maître-élève; constater, dans une visée acquisitionnelle, ce qui, de la part de l’enseignant, en termes d’offres langagières du point de vue interactionnel et syntaxique, favorise l’acquisition de la langue orale chez l’élève. Nous appuyant sur les travaux socio-interactionnistes (Vygotski, 1934, Bruner, 1983, 1991) et en acquisition du langage (Lentin, 1998, Canut, 2006), nos hypothèses sont les suivantes : une offre langagière adaptée de la part de l’enseignant -reposant sur une reformulation des énoncés de l’enfant et un langage syntaxiquement structuré qui s’inscrivent dans la zone proximale de développement de l’élève- est déterminante dans son évolution langagière. Dans le cadre de l’analyse de données qualitative, nous avons analysé à la fois de manière longitudinale et contrastive les interactions langagières entre une enseignante et trois élèves sur une année de moyenne section de maternelle. Nous avons comparé nos premiers résultats avec ceux d’une analyse identique d’interactions langagières d’un enseignant-chercheur avec deux élèves. La méthode d’analyse adoptée a consisté à la fois en une analyse des interactions en unités interactionnelles et en celle des énoncés (maître et élève) en catégories syntaxiques. A travers les deux expérimentations analysées dans une perspective comparative, nos hypothèses ont été vérifiées. / We have questioned the effect of the teacher's use of language upon the speech growth of pupils aged four and five through narration. Our research has two objectives : characterizing the linguistic interactions within the context of a one-to-one teacher-pupil exchange; making an observation of what, in the teacher's communication, in terms of interactions and syntax, foster the pupil's acquisition of oral skills. Relying on socio-interactionists (Vigotski, 1934, Bruner, 1983,1991) and language acquisition theories (Lentin, 1988, Canut, 2006), we made the following assumptions : an appropriate teacher's response, based upon rephrasing the child's utterances and a syntaxically structured model fitting in their zone of proximal development, is a determining factor in the evolution of their verbalness. In the framework of the analysis of qualitative data , we have analysed at the same time a longitudinal way and a contrastive way, the language ! interactions between a female teacher and three pupils in a nursey school class during one school year. Then we have compared our initial results with the ones of an identical analysis of language interactions between a researcher and two pupils. The methodology consisted of both an analysis of the interactions in interaction units and an analysis of the utterances (teacher and pupil ) in syntactic categories. Through the two experimentations analysed from a comparative viewpoint, our hypotheses have been confirmed.

Cette thèse apporte un éclairage esthétique sur un ensemble de romans polyphoniques du canon francophone contemporain. Des formes de féminisme autour du prophète de l’islam dans Loin de Médine d'Assia Djebar aux formes de l’individualisme dans un village guadeloupéen dans Traversée de la mangrove de Maryse Condé en passant par les voix multiples de la créolité dans Solibo Magnifique de Patrick Chamoiseau, ces romans sont engagés dans des stratégies littéraires novatrices. Or les études postcoloniales ont laissé dans l'ombre le travail des formes qui est pourtant le mode opératoire de la pensée littéraire. Il faut donc remédier à ces lacunes par une analyse narratologique et stylistique des techniques de représentation du discours et de la pensée. En dégageant les formes et les enjeux de la relation fascinante qui se joue entre la parole de l’autre et les voix narratives, notre thèse apporte une contribution attendue dans les études francophones autant que dans les théories narratives.Trois pensées majeures nourrissent cette recherche : d’abord le concept de contrepoint d’Edward Saïd, envisagé dans sa dimension dialogique, ensuite la vision sociale du langage chez Voloshinov/Bakhtine qui préside aux développements sur le dialogisme, enfin l’approche politique de la littérature de Jacques Rancière, qui donne un tout nouvel éclairage aux désormais traditionnels bénéfices de l’« estrangement ». C’est ainsi sans quitter la zone ténue où se rencontrent formes esthétiques et formes sociales que ce travail traverse les débats les plus actuels des études francophones. / This dissertation casts an aesthetic light on a selection of polyphonic novels from the Francophone contemporary canon. From the forms of feminism around the prophet of islam in Far from Madina by Assia Djebar, to the multiple voices of Créolité in Solibo Magnificent by Patrick Chamoiseau, to the forms of individualism in a Guadeloupean village in Crossing the Mangrove by Maryse Condé, these novels are involved in innovative literary strategies. Nonetheless, postcolonial studies left in the shadow the work of forms that is yet the operatory mode of literary thought. To bridge this gap, we need a narratological and stylistic analysis of the techniques of representation of speech and thought. By disentangling the forms and the stakes of the fascinating relationship that is at work between the other’s speech and narrative voices, my dissertation brings a welcomed contribution to Francophone studies as well as to narrative studies.Three major thoughts foster this research: first the concept of counterpoint of Edward Said, seen in its dialogical dimension, the social approach to language in Voloshinov/Bakhtin, that presides to developments on dialogism, and the political approach to literature of Jacques Rancière, that casts a new light on now traditional benefits of “estrangement”. It is thus, without leaving the tenuous zone where esthetic forms meet social forms that my dissertation spans the most actual debates in Francophone studies.

The focus of this study is to analyze in what way the historical novel can be convincing and if the interaction between fictional and factual narration within this genre influences the degree to which it can be convincing. The three novels chosen are Les Naufragés De L’Île Tromelin by Irène Frain, Les Enfants d’Alexandrie by Françoise Chandernagor and Bison by Patrick Grainville, for which all three authors received Le Grand Prix Palatine. In the introduction are presented the general characteristics of the genre as well as its capability of being convincing, outlining that there is a possibility for a fictional work to seem more convincing than a purely factual one. Also defined are differences between the contemporary and the classical historical novel. This is done in order to take into account in the analysis what might be learnt from the contemporary historical novel. The theoretical framework consists of the semantic definitions of fictional versus factual narration as presented by Jean-Marie Schaeffer, as well as theory of how the reader’s immersive experience enables ontological crossings. What the analysis is able to show is that all three novels include four types of truth claims, that the reader can be convinced of all four and that this conviction is connected to the context to which the reader associates the historical/literary character. The analysis also brings forth what can be thought of as the historiographical pact, a term analogous with Philippe Lejeune’s term ‘the autobiographical pact’, which establishes a referential link with history. What is in the end considered the most convincing literary device is the inclusion of factual markers referencing real-world sources. In all three novels, it is also possibly to identify truth claims concerning human nature.

Le travail théâtral (de 1994 à 2010) du metteur en scène allemand Thomas Ostermeier est ici étudié : à travers son parcours professionnel (de la période de sa formation à l’École Ernst-Busch à sa direction du théâtre de la Schaubühne de Berlin, en passant par celui de la Baracke), à travers ses choix esthétiques (sur le répertoire et la recherche de la narration, la revalorisation du récit, la direction d’acteurs, etc.) et ses collaborations principales avec le dramaturge Marius von Mayenburg et le scénographe Jan Pappelbaum, et à travers l’analyse des quatre représentations des pièces de l’auteur norvégien Henrik Ibsen : Une Maison de poupée (Nora) en 2002, Le Constructeur Solness en 2004, Hedda Gabler en 2005 et John Gabriel Borkman en 2008. Il en ressort le constat que le théâtre de Thomas Ostermeier résulte d’un subtil mélange d’influences diverses et variées, jusqu’alors souvent considérées comme opposées, contradictoires et incompatibles entre elles : les théories de Stanislavski, Meyerhold et Brecht coexistent et leurs procédés artistiques sont appliqués de façon complémentaire. Ceci est particulièrement visible dans le jeu des comédiens et, à l’appui et resitué dans les scénographies architecturées de Jan Pappelbaum, cet assemblage donne des œuvres artistiques d’un réalisme tout particulier, “contrarié”, qui devient même un signe distinctif du travail du metteur en scène, lequel a rencontré jusqu’à aujourd’hui un très grand succès public. / This thesis studies the theatrical work (from 1994 till 2010) of the German stage director Thomas Ostermeier: through his professional career (from the period of his studies at the Ernst-Busch School, to his direction of the Baracke Theater and later to that of the Theater of Schaubühne Berlin), through his aesthetic choices (concerning his repertoire, his search for the stories and for the narration, his directing of actors, etc.) and his major collaborations with the playwright Marius von Mayenburg and the set designer Jan Pappelbaum, and finally through the analysis of his four representations of the plays of the Norwegian playwright Henrik Ibsen: A Doll's house (Nora) in 2002, The Master Builder Solness in 2004, Hedda Gabler in 2005 and John Gabriel Borkman in 2008. The thesis shows that the theater of Thomas Ostermeier results from a subtle mixture of diverse and varied influences, until then often considered as opposite, contradictory and mutually incompatible: the theories of Stanislavski, Meyerhold and Brecht coexist and their artistic methods are applied in a complementary manner. This is particularly visible in the acting of the comedians and, while situated in the architectonical sets by Jan Pappelbaum, this mixture bears artistic works of a very particular, “perturbed” realism, which becomes even one of the distinguishing features of the work of Thomas Ostermeier, which met until today an important public success.

This bipartite thesis presents and implements an intermedial model for co-reading poems and photographs in paper books, a genre I call photo poetry. A survey of the genre in Sweden was carried out and presented in a selected bibliography in my licentiate thesis. Two well-established poets, Katarina Frostenson and Rut Hillarp, made their debut in the genre in the 1980s and have since produced three books each. Frostenson cooperates with photographer Jean Claude Arnault and Hillarp created the poems as well as the pictures herself. Scholarly studies up to now have focused on the poems, however, and have therefore neglected the impact of the photographic pictures. The first part of the thesis elaborates a model based on the framework of the picture book and adapted to the text genre of poetry and the epistemology of the photographic picture. Two different narrative reading strategies are developed and applied to the material: the metonymical and the metaphorical linking. The metonymical linking implies that the diegesis on the spread is perceived to be part of a larger diegesis and that that diegesis has direct virtual contact with the diegesis on the next spread. The metaphorical linking implies that the diegesis on the single spread is perceived to be part of a larger diegesis, but that that diegesis has no direct virtual spatial contact with the next spread. Whether or not a diegesis is perceived to have direct virtual spatial contact with spreads depends on the story’s display of the contingency of characters, time and place. The model is based on the relations tied to the book’s construction: the schematic, the synchronic and the diachronic relation. The schematic relation concerns meaning created on all spreads, the synchronic relation meaning on a single spread, and the diachronic relation meanings on spreads in a row. The schematic and the diachronic may appear to overlap somewhat but in the schematic relation the focus is on tracing different story schemes, and in the diachronic relation the focus is on how the narration progresses and alternates between different schemes. The findings show that with the co-reading model the impact of the photographs gives a deeper understanding of not only the narrative interplay of word and image but also of semiotic, intermedial and intertextual connections. The reading strategies applied show that Frostenson’s and Arnault’s works gain from a metonymically linked interpretation whereas Hillarp’s mainly gain from a metaphorically linked interpretation. The study also discusses the impact of the photographic picture and connects it to the semiotic theory of C. S. Peirce as well as to Western picture practices.

Texte remanié de : Dissertation : Littérature : Universität Bonn : 1988. / Texte en allemand, contient des extraits en français. Bibliogr. p. 213-224. Notes bibliogr.

Das Europäische Parlament ist zweifelsohne die mächtigste parlamentarische Versammlung auf supranationaler Ebene. Das provoziert die Frage, wie Entscheidungen in diesem Parlament gefällt werden und wie sie begründet werden können. Darin liegt das Hauptanliegen dieser Arbeit, die zur Beantwortung dieser Frage auf soziologische Ansätze der Erklärung sozialen Handelns zurückgreift und damit einen neuen Zugang zur Beobachtung parlamentarischen Handelns schafft. Dabei arbeitet sie heraus, wie wichtig es ist, bei der Analyse politischer Entscheidungsprozesse zu beachten, wie politische Probleme von Akteuren interpretiert und gegenüber Verhandlungspartnern dargestellt werden. An den Fallbeispielen der Entscheidungsprozesse zur Dienstleistungsrichtlinie, zur Chemikalien-Verordnung REACH und dem TDIP (CIA)-Ausschuss in der Legislaturperiode 2004–2009, wird der soziale Mechanismus dargestellt, der hinter Einigungen im Europäischen Parlament steckt. Kultur als Interpretation der Welt wird so zum Schlüssel des Verständnisses politischer Entscheidungen auf supranationaler Ebene. / The European Parliament is the most powerful parliamentary assembly on the supranational level. However, the question of how and why decisions are being taken in this parliament has been insufficiently addressed so far. This is the main aim of this book, which draws on sociological theories for explaining social action and thus opens up a new approach to the analysis of parliamentary action. It argues that it is necessary to take into account how actors interpret political problems and how they relate to their counterparts in negotiations. In three case studies on decision-making processes in the 6th European Parliament between 2004 and 2009 - Services Directive, REACH and the TDIP (CIA-)committee – the study reconstructs the social mechanism behind compromise in the EP. Culture as the way actors attach meaning to the world is the key to understanding political decisions on the supranational level.

Mémoire (M.A.Fr.)-- Université du Québec à Trois-Rivières, 1986. / Ce mémoire a été réalise à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en études littéraires de l'Université du Québec à Trois-Rivières extentionné a l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

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