Les relations d'intertextualité dans Les Amours jaunes témoignent d'un jeu de correspondances et d'allusions littéraires que l'on peut nommer la poétique de l'habit d'Arlequin. Notre recherche porte sur les différentes expressions de la révolte dans le recueil. L'art de la dérision et la parodie contribuent au dialogue intertextuel avec d'une part des auteurs du passé tels que Shakespeare, La Fontaine, Villon et du Bellay. D'autre part, le poète se réfère à l'œuvre de Hugo, aux romans de son père, Edouard Corbière, et fait allusion à la poésie de Baudelaire, de Gautier et de Vigny. Dans le sillage de ses prédécesseurs il dénonce la peinture factice de l'Italie et de l'Espagne littéraires dans la poésie de Lamartine et de Musset. Par ailleurs, Les Amours jaunes illustrent la recherche d'une poétique nouvelle. En effet, Corbière s'interroge à propos de l'échec auquel il attribue une dimension positive qui contribue à la négativité de sa poésie. L'impossible dialogue amoureux le conduit à entrevoir dans l'amour maternel un dédommagement. En outre, le poète recourt à la théâtralité et projette sur la scène du spectacle imaginaire du recueil des figures de la marginalité, emblèmes de la sagesse populaire qui illustrent le renversement des valeurs sociales. Corbière transpose les paysages de la Bretagne dans son univers poétique et rend hommage au monde des marins dont il révèle la vision de la mort. / The intertextuality relations in Amours Jaunes indicate a game of correspondences and of Iilerary allusions that we can call the poetic makeup of Harlequin. Our research deals with the different expressions of the revolt in the anthology. The art of the derision and the parody contribute to the dialogue intertextuel with, on one hand, past authors such as Shakespeare, La Fontaine, Villon, and du Bellay. On the other hand, the poet is inspired by the work of Hugo, his father's novels, Edouard Corbière, and alludes to the poetry of Baudelaire, de Gautier, and de Vigny. Like his predecessors, Corbière denounces the artificial painting of the Italian and Spanish literary in the poetry of Lamartine and de Musset. Besides, Les Amours Jaunes iIIustrate the search for a new poetics. ln fact, Corbière wonders about failure to which he attributes a positive dimension, which contributes to the negativity of his poetry. The impossible love dialogue leads him to discover a rewarding feeling in maternal love. ln addition, the poet resorts to the theatrality and projects on the scene of the imaginary spectacle of the anthology of the faces of the marginality, emblems of popular wisdom that illustrate the overthrow of the social values. Corbière transposes Brittany's landscape into his poetic universe and pay homage to the world of the sailors from whom he takes the vision of death.

Esta investigação propõe uma análise comparativa das obras Cinderela ou Sapatinho de Cristal, de Charles Perrault; Cinderela, de Jacob e Wilhelm Grimm e Cinderela: uma biografia autorizada, de Paula Mastroberti, com a finalidade de constatar as transformações que ocorreram em cada versão devido à influência da cultura regional, do espaço e do contexto histórico que representam. Tratando-se de obras de interesse infantil, são revisados aspectos fundamentais dessa modalidade de literatura. O trabalho está dividido em quatro partes: a primeira discute as questões básicas que envolvem o gênero conto e suas aproximações conceituais; a segunda aborda conceitos básicos sobre literatura infantil e infância; a terceira apresenta a problemática da regionalidade, associando-a com literatura infantil brasileira e riograndense; e a quarta, analisa os textos que compõem o corpus desta pesquisa. A conclusão procura, por meio das obras analisadas, assinalar as relações entre literatura infantil tradicional e renovada e entre literatura infantil e regional idade. / This investigation proposes a comparative analysis of the books Cinderella, by Charles Perrault, Cinderella by Jacob and Wilhelm Grimm and Cinderella: the authorized biography, by Paula Mastroberti, aiming to verify the transformations each version has suffered due to the influences from the regional culture, the space and the historical context that they represent. Considering that these books are ch ildren's interest, the essential aspects of this genre will be reviewed. The task is divided in four parts: the first one discusses the basic questions that involve the genre tale and its conceptual approximations; the second approaches basic concepts about children's literature and chi ldhood; the third presents the problematic of the regionality, associating it with the Brazilian and South Brazilian chi ldren's literature; and the fourth analyses the texts that compose the corpus of this research. The conclusion aims to point out, through the analyzed books, the relations between traditional and renovated children 's literature and also between children 's literature and regionality.

For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.

On connaît le personnage de Mezzetin grâce au portrait qu'en a fait Watteau. C'est sans doute le personnage le Commedia dell'arte le plus représenté dans l'iconographie des XVII et XVIIIe siècles. Ce fut Angelo Costantini qui le rendit célèbre. Or, que sait-on de ce comédien et de son personnage? Né à Vérone en 1654, fils d'un comédien-musicien italien, il débute le théâtre en Italie avant d'arriver en France dans la troupe royale en jouant Arlequin en alternance avec Biancolelli. Celui-ci ne lui laissant pas l'occasion de briller, Costantini songea à jouer des interventions fragmentées, imaginant un nouveau type de personnage, mi-aventurier, mi-serviteur, et surtout musicien: Mezzetino, diminutif de mezzetta, c'est-à-dire "demie-portion". Ce nouveau zanni, entre Scapin et Brighella le rendit populaire et le public, appréciant son visage agréable et son jeu expressif, le poussa à jouer sans masque, à visage découvert. Mais le personnage est-il véritablement de l'invention de Costantini? Cette recherche s'attache à déjouer les préjugés qui accompagnent traditionnellement les écrits sur l'acteur. On ne connaît de lui que son histoire parisienne, il a pourtant marqué son époque, ayant été appelé à jouer dans les grandes cours européennes comme celle de Varsovie, Dresde, Madrid ou encore Londres. Nous avons suivi ses traces dans une première partie pour étudier ensuite le personnage de Mezzetin et des particularités. L'un et l'autre furent-ils indissociables? / .We know the character of Mezzetino thanks to Watteau. He is without doubt the character of the Commedia dell'arte the most painted in the 17th and 18th century iconography. It was Angelo Costantini who made him famous. But what do we know exactly about this comedian and his character? Born in Verona in 1654, son of an italian comedian and musician, he starts to play the theater in Italy before coming in France in the royal troupe. To emphasize, he invents a new type adventurer and servant, but mostly musician : Mezzetino, short for mezzetta, which means half portion. This new zanni between Scapino and Brighella made Costantini famous in Paris. The audience liked him very much and forced him to play without a mask because he was handsome. But the character is it really his invention? In this thesis, we attempt to thwart the prejudices which accompany traditionally the papers on the actor. Costantini marked his time, he was called to play in the biggest european courts (Varsovia, Dresden, Madrid or London). We followed his tracks in a first part to study then the character of Mezzetino and his peculiarities. Were both inseparable?

A search of music history texts on American music, such as American Music: A Panorama, by Daniel Kingman, seems to ignore the music of 19th-century California. In Kingman's text, music of the Indians and of mission life is discussed, but music of California and, indeed, much of the western United States is left unexplored. I have found this to be the case in other texts as well. In fact, I have never found a text that discusses or even mentions music of the Gold Rush in California. Two reasons for this omission seem likely: the first is the paucity of information available and the second may be that the authors incorrectly assumed that, because all miners were emigrants, the music would not be original. The area of music I have chosen to discuss was, in fact, unique to the mining country of California in the first decade of the Gold Rush. It is my hope that this thesis will be the starting point for further research on the music of the Gold Rush.

Orientador: Heloisa Costa Milton / Resumo: Esta pesquisa surgiu da leitura das crônicas do escritor contemporâneo Moacyr Scliar, publicadas no jornal Folha de São Paulo, no período de 16 de março de 1995 a 28 de agosto de 1997. Tem, portanto, como objeto, matérias do gênero "crônica", ou seja, narrativas comprometidas com a análise da realidade e voltadas para a reflexão do leitor. Trata-se, assim, de um estudo comparativo que visa a desvelar o processo de recriação paródica nas crônicas de Moacyr Scliar, para expor a forma como o autor trabalha literariamente os fatos veiculados por notícias jornalísticas. Transformadas em crônicas, elas adquirem novas significações e direcionamentos no âmbito da invenção ficcional, provocando efeitos tragicômicos que levam o leitor ao riso reduzido. / Abstract: Reading the chronicles written by Moacyr Scliar, a contemporary Brazilian writer, brought about this research. Moacyr Scliar's chronicles are published in the paper Folha de São Paulo and we selected the chronicles from March 16, 1995 to August 28, 1997 for analysis. His chronicles present analyses of the complex social reality demanding from the reader some complex processes of reading. Scliar selects news which are far from our common sense, and then he represents them in a fictional world where the tragic and comic effects make the reader chuckle. This work is a comparative study between the news and the chronicles aiming to reveal the parody recreation by Moacyr Scliar's chronicles and how the writer takes the facts from the news to put them into a literary form. / Mestre

Écrivaine prolifique, anticonformiste, rebelle et provocatrice, Doris Lessing est considérée par la critique comme ayant été à l'avant-garde du féminisme, du communisme, de l'anticolonialisme et de la lutte contre l'apartheid. En lui accordant le prix Nobel de littérature en 2007, l'académie suédoise récompensait une « conteuse épique de l'expérience féminine, qui avec scepticisme, ardeur et une force visionnaire, scrute une civilisation divisée ». Cependant, ne retenir de Doris Lessing que des combats politiques d'ordre public, c'est oublier un thème essentiel et omniprésent dans ses écrits, celui de la quête de soi et du désir de connaissance de soi qui anime le sujet féminin. Pour atteindre ce but et au bout du compte se reconstruire, celui-ci passe d'abord par la déconstruction. C'est pourquoi ce travail se propose d'analyser l'approche déconstructionniste de Doris Lessing vis-à-vis de la question de l'identité féminine. Cette déconstruction ne doit pas être comprise au sens strictement derridien du terme, mais dans une perspective plus large qui est celle de la vision universelle et prophétique de l'auteure. En effet, Doris Lessing tente de déconstruire une conception essentialiste qui renverrait à une conception universaliste de l'identité féminine. Elle nie toute pensée logocentrique et remet en cause l'unité et le fixisme identitaire, et partant la généralité de la quête. Ceci révèle le nomadisme d'une pensée qui doit s'entendre, dans le sens deleuzien, comme une conception de l'identité de la femme comme fluide, changeante, sans frontières, ouverte à de nouvelles possibilités et avec un grand potentiel pour se re-désigner et se re-définir. / A prolific, anti-conformist, rebellious and provocative writer, Doris Lessing has been considered by critics as the forerunner of feminism, communism, anti-colonialism and anti-aparteid. By attributing to her the Nobel Price for Literature in 2007, the Swedish Academy rewarded an « epicist of the female experience, who, with skepticism, fire and visionary power subjected a divided civilization to scrutiny ». Reducing her work, however, to political issues means overlooking a crucial and omnipotent theme related to the quest for selfhood and the desire for self-knowledge animating the female subject, In order to gain this goal, it is first important to go through the experience of deconstruction. This is why this work will analyse Doris Lessing's deconstructive approach to the female identity. This deconstruction is not to be understood in the strict Derridian sense but in a broader persepective residing in the writer's universal and prophetic vision. In fact, Doris Lessing endeavors to deconstruct an essentialist conception which would lead to a universal apprehension of the female identity. She denies all logocentric thinking and questions fixed and unified identities, and by the same token, the universality of the quest. This reveals a nomadic thought, which in Deleuzian sense, entails that the female identity is fluid, changing, without frontiers, open to all possibilities and with a great potential to re-construct and re-define itself.

Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.

The American musical team John Kander and Fred Ebb created many celebrated works, yet musicologists have carried out little research on those works. This study examines the role of music in the parodic narration of Kander and Ebb's final collaboration, The Scottsboro Boys. Kander and Ebb use minstrelsy to tell the story of the historic Scottsboro Boys trials with actors portraying the Scottsboro Boys as minstrels; at the same time, they employ a number of devices to subvert minstrelsy stereotypes and thereby comment on racism. Drawing on African American literary theory, sociolinguistics, and Bakhtin's dialogism, this study illuminates how Signifyin(g), a rhetorical tradition used to encode messages in some African American communities, is the primary way the actors playing the Scottsboro Boys subvert through minstrelsy. This study not only contributes to the discussion of Signifyin(g) in African American musicals and theatre as a tool of subversion, but also provides an example of non-African American creators—Kander and Ebb—using Signifyin(g) devices. They use these in the music and the book; in particular, Kander and Ebb do some Signifyin(g) on Stephen Foster's plantation melodies.

The Universal Declaration of Human Rights article 27 shows that copyright law has two functions. ‘everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has right to protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.’[1]  These functions are supporting cultural aspects on society and give a prior right to holder of the copyright to secure and use the work. On the other hand, copyright secures the personality and property rights of the copyright holder. When talking about copyright as an international concept we can state that copyright is not an absolute right, it is limited by the common wellbeing of society, meaning that quoting and getting the information or ideas from other’s work is accepted. Ideas, principles, thoughts, or themes are not included in the scope of copyright protection.[2] Copyright can be created only by a human, but it can be transferred to a legal person like a company. Not that long-ago computer programs were not seen as tangible property and that is why the damages done to the programs were hard to prove as a criminal action.[3] Copyright protects the artistic work during the whole lifetime of author and 70 years after his death. It can be said that copyright and related rights are less protective than industrial registered intellectual property, on contrary, copyright is not limiting the protection to the level of success or requirements, while for example, patent law is very restrictive about the quality of product.[4] Copyright law is a territorial limited law, led by international regulations like the Berne Convention for the Protection of Literary and Artistic Works (hereafter Berne Convention)[5] and European Copyright Directive (hereafter DSM Directive).[6] Photoshop and image manipulation are present in everyday life, this kind of services can be offered even to children for their school portals. Use of computer-generated pictures and films is increasing in campaigns, news and movies. This kind of image technology can be used for making simulations of law cases or “waking up” movie stars from death. The scale of use is endless. The artificial intelligence (hereafter AI) technology behind computer-generated imageries is called deep learning. Deep learning is an advanced type of machine learning and it is used at, for example, computer programs, self-driving cars, and targeted online advertising.[7] The artificial intelligence software makes generating easy and possible for larger user groups and develops images, which brings more legal problems as well. Computer-generated imageries (hereafter CGI) are used for the entertainment industry for different targets and upgrade the film for a new level. In the same time, it can be used for an act of revenge, when the content is defamation the person at the picture, or it can be used for fake news. These kinds of computer-generated imageries are called deep fakes. Sometimes the imageries done by AI or other software are so real that it is almost impossible to recognize the difference with the bare eye, the content of the deep fake can lead the viewer to wrong. The problem of deep fakes has been identified by the governments as well as by the large corporations, for example, Facebook. Facebook, which is one the world’s biggest social media network, has decided to delete and ban deep fakes on its pages according to Monica Bickert vice-president of Facebook. The ban does not apply the parody or satire content, which is one argument that copyright holders are relying on deep fakes.[8] The aim of the thesis is to recognise all aspects of copyright law implications; including the rights of the owner of original work, rights of the owner of new work, rights of the persons that are at the copyright-protected work and rights of the trademark owner if the trademark is used on imagery. [1] The Universal Declaration of Human Rights by the United Nations General Assembly on 10 December 1948 [2] Article 2 of Berne Convention for the Protection of Literary and Artistic Works. September 9, 1886 regulates the scope of the works which are enjoying copyright protection. Guidelines to Berne Convention paragraph 2.2 and 2.3 state that the content itself is not important for copyright protection but the form of the work. Therefore, for example, idea is excluded from the scope of copyright protection. WIPO. Guide to the Berne Convention for the Protection of Literary and Artistic Works. 1978. Retrieved April 25, 2020, from https://www.wipo.int/edocs/pubdocs/en/copyright/615/wipo_pub_615.pdf [3] Cox v Riley (1986) 83 Cr App R 54. The employee erased several programs from the magnetic cards and was charged with criminal damage. Employee argued that he was not guilty because the computer programs were not tangible property. Court held that even though the computer programs were not tangible property the damages done to the cards were enough to be charged in a criminal sentence. [4] Pila, J. Torremans, P. European Intellectual Property Law. 2nd edition. 2019. Oxford. [5] Berne Convention for the Protection of Literary and Artistic Works. September 9, 1886. The latest text of Berne Convention (from 1971 Paris Act plus Appendix) will be used at thesis. [6] Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the Digital Single Market and amending Directive 96/9/EC and 2001/29/EC [7] Rouse, M. Definition ‘deep learning’. TechTarget. 2019. Retrieved May 25, 2020, from  https://searchenterpriseai.techtarget.com/definition/deep-learning-deep-neural-network [8] Bickert, M. Enforcing Against Manipulated Media. 2020. Retrieved May 9, 2020, from   https://about.fb.com/news/2020/01/enforcing-against-manipulated-media/