This study is concerned with the first part of Les Angoysses douloureuses qui procedent d'amours by Helisenne de Crenne which conforms to the writing rules of the rhetorical deliberative discourse. It is destined to a recipient in the text, to try to influence his future course of action, in a determinated way. This persuasion exercise is mostly done with examples which make up the main component of the story. The purpose of the text, explicit, manifest and admitted, is to incite the "dames" to live a life of virtue, without repeating in the future the misdeed, which the narrator is the example. The intent is therefore apparently one of edification. / However, a double intention, less apparent, also shows through in the text. The character of Helisenne, far from trying to alert her female readers, is re-enacting her passion by the very fact that she is writing it; she also makes it legitimate by using the exemplum and the godly predestination. Furthermore, she gives another recipient to her writings, her lover, who should be prompted to come to her rescue once he has read the story. / This study shows that it is in the superposition of the divergent aims of the deliberative discourse that lies the "delit".

Made available in DSpace on 2018-08-01T23:37:05Z (GMT). No. of bitstreams: 1 tese_10377_Dissertação Marcelo Mattos Gandini.pdf: 3767395 bytes, checksum: 2d316bb122ac1175a9dcbead496d106c (MD5) Previous issue date: 2016-07-28 / O Estudo de caso do atelier de fotografia analógica tem como escopo investigar a produção de imagens fotográficas a partir de processos alternativos de produção de imagens. O foco da investigação está na descrição da trajetória desse processo, a partir da oferta de uma disciplina optativa no Centro de Artes da Universidade Federal do Espírito Santo-UFES, denominada Ateliê de Fotografia Analógica: Processos Alternativos de produção de imagem para alunos regulares e egressos desta instituição. O trabalho refletiu sobre processos de criação imagética por meio de procedimentos fotográficos analógicos a partir dos processos fotográficos, tais como: negativo construído artesanalmente, palimpsesto, cianótipo e quimigrama, destacando também a constituição híbrida dessas formas. Estudamos as produções e articulações dessas imagens, sendo analisados os discursos verbais escritos produzidos pelos estudantes produtores e as imagens e seus processos alicerçados em experiências no laboratório de fotografia. Fundamentam esta pesquisa teóricos como Vilém Flusser, Walter Benjamin, Roland Barthes e Luiz Guimarães Monforte, que discutiram e problematizaram a imagem fotográfica, possibilitando um entendimento dos diferentes caminhos poéticos, técnicos e conceituais na atualidade. Para análise dos sentidos das imagens e dos discursos produzidos utilizou-se a teoria da significação e a semiótica plástica proposta por Algirdas Julien Greimas e Jean Marie Floch, a partir de estudos de Anamélia Bueno Buoro e Moema Martins Rebouças. Investigou-se as possibilidades das técnicas fotográficas inerentes às superfícies sensíveis e fotossensíveis, às soluções fotoquímicas e para o cruzamento dessas possibilidades fotográficas com outras linguagens. Ao abster-se da máquina fotográfica, o trabalho confronta as imagens com suas especificidades e busca desvendar os caminhos de processos diversos de produção, para a partir delas desvelar as imagens produzidas e os discursos.

Made available in DSpace on 2018-08-01T21:36:54Z (GMT). No. of bitstreams: 1 tese_10812_Dissertação de mestrado - Paulo Matheus - Final.pdf: 3772847 bytes, checksum: e98aacba0bfddcbca0b83aa9f2b9c46c (MD5) Previous issue date: 2017-04-05 / Membranas poliméricas são definidas como uma interface entre duas fases adjacentes atuando como barreiras seletivas regulando o transporte de substâncias entre dois compartimentos, são obtidas a partir de estruturas poliméricas, e outros tipos, como materiais cerâmicos. Neste trabalho foi utilizado o biopolímero quitosana (QUI), proveniente de cascas de camarão pré-processadas cuja última etapa de purificação foi realizada utilizando ácido acético a 0,5 mol/L e poliacrilonitrila (PAN), que foi sintetizada utilizando peróxido de benzoíla e o monômero acrilonitrila. O objetivo deste trabalho inicialmente foi investigar a produção de membranas híbridas de poliacrilonitrila e quitosana, agregada com nanopartículas de óxido de zinco, que foi adicionado em uma solução ácida de quitosana com agitação utilizando ultrassom e aquecimento a 70 ºC, e, posteriormente analisar as características dessas membranas. Os resultados obtidos mostraram que as membranas de PAN pura são duras e quebradiças, e, conforme o teor de QUIT aumenta, elas vão se tornando mais maleáveis, ao mesmo tempo em que os poros vão sendo fechados e tornam-se menores e menos frequentes. Com relação à adição do óxido de zinco, os poros das membranas com a presença deste assumem um aspecto intermediário entre os apresentados pela membrana de PAN pura e PAN/QUIT. Quando observadas em sua seção transversal, as membranas com QUIT apresentam grandes cavidades, diferentemente do observado para a PAN pura e, novamente, as membranas com presença de óxido de zinco exibem comportamento intermediário, podendo-se observar uma espécie de rede polimérica. Observou-se ainda em todas as membranas o efeito mais efetivo da evaporação do solvente, que provocou a quebra ou alteração considerável nas membranas, numa temperatura acima de 120 °C.

No description available.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Researchers currently are according a great deal of importance to the genetic analysis of Gabrielle Roy's writings. Indeed, the author's manuscripts reveal important details about her creative process. In this thesis, we study the changes the author made to both style and content at different stages of the writing of "Jeannot-la-Corneille", one of the recits making up Cet ete qui chantait. The latter is one of Roy's least studied books. Our analysis of the modifications the author made to the content and style of her texts allows us to understand the reasons behind these changes and gives us as well a sense of Gabrielle Roy's creative work. Admired for the apparent ease with which she writes, the author reworks her text tirelessly in order to achieve the desired effects: precision, accuracy and musicality. Adjectives, adverbs, nouns, all parts of speech are subject to change in this quest to improve descriptions and, in so doing, deliver more effectively a message of hope.

Although Réjean Ducharme is a major literary figure in Quebec, he is virtually unknown to English Canada. His novels L'Avalée des avalés and Le Nez qui vogue are important in the evolving literary tradition of Quebec because they foreground the functioning of language, but this tendency also explains why translation of Ducharme is a difficult undertaking. Thus, as of 1985, Le Nez qui vogue has not been published in English. The purpose of this study is to examine L'Avalée des avalés and Le Nez qui vogue from two complementary points of view: traditional and metafictional. Both of these novels diverge substantially from the norms of verisimilitude while presenting a wealth of psychological motifs. The psychological coherence of the first-person represented in these texts points out the individual subject's dependence vis-à-vis social and cultural values, the relativity of the concept "subject," and its status as a social construct or "text" in its own right. In other words, the psychological representation of subject evokes the latter's status as fictional or constructed, within the text, as character, and outside of the text, as writer/reader. At the same time, the divergence of the novels from the norms of verisimilitude constitutes an interpretation and critique of those norms and of literary and expository discourse in general. L'Avalée and Le Nez are metafictions, or novels about fiction. The image of subject in L'Avalée des avalés repeats the myth of schizoid deterioration presented in Laing's The Divided Self, while the subject in Le Nez qui vogue repeats Freud's obsessive self. In Part I, I discuss these rapprochements in the light of a traditional interpretation of character. The description of the subject assumes the first-person narrator to be the origin of the discourse which becomes the novel. In Parts II and III of my discussion I reverse this point of view. In Part II, I show how the language and structure of L'Avalée reveal the text as constituting a parody of the psychological novel, by using Linda Hutcheon's concept of parody as repetition with a difference. Semantic incongruity defines the parameters of the text, pointing to meaning as a complex or non-univocal structure, just as the schizoid subject caricatures the non-schizoid subject by never being at one with itself. The subject emerges as an image of the text as realized in the act of reading. Part III of my discussion addresses the relations of subject and text in Le Nez qui vogue, which conforms to verisimilitude more than L'Avalée, by representing its own inscription as the narrator's practise of keeping a journal. Passages of nonsense and word play in the journal gradually give way to a narrative account of the subject's cure and separation from his alter ego. The discourse which produces the cure also performs a critique of discourse itself as tautological, a critique outlined in Patrick Imbert's discussions of Ducharme. This discourse can be displaced only by a récit which is ultimately included within the closed conceptual universe critiqued. The narrative of the alter ego's endangerment and death displaces the narrative of the subject's cure. Instead of reaffirming his cure, the narrator's neglect of textual practise in favour of narrative constitutes his entrapment within a closed conceptual universe; and specifically within the ethos of castration which interprets the other as a degraded version of the same, the unknown as the already known. The possibility of this reversal of interpretation in Le Nez qui vogue accords a high-profile role to the reader by making overt the latter's responsibility in imposing closure on a text. The reduplicating of the narrator's conscious discourse by the unconscious discourse representing castration makes explicit his status as result rather than origin of discourse. The pursuit of psychological subject in L'Avalée des avalés and in Le Nez qui vogue leads one to appreciate subject as text, that is, as an interpreted plurality. It also leads one to recognize text as subject, that is, as realized by the reading process. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Cette thèse propose de nouvelles méthodes pour accélérer certaines des plus importantes opérations dans une triangulation de Delaunay, conciliant efficacité et bonne complexité théorique. Nous proposons deux approches pour calculer la triangulation de Delaunay de points sur (ou proches) d'une sphère. La première approche calcule la triangulation de Delaunay de points exactement sur la sphère par construction. La deuxième approche calcule directement l'enveloppe convexe de l'ensemble d'entrée, et donne quelques garanties sur la sortie. Les deux approches sont basées sur la triangulation régulière sur la sphère. La deuxième approche améliore les solutions de l'état de l'art. L'operation de mise à jour d'une triangulation de Delaunay, quand les sommets bougent, est critique dans plusieurs domaines d'applications. Quand tous les sommets bougent, reconstruire toute la triangulation est étonnamment une bonne solution en pratique. Toutefois, lorsque les points se déplacent tres peu, ou si seulement une fraction des sommets bougent, la reconstruction n'est plus la meilleure option. Nous proposons un système de filtrage basé sur le concept de tolérance d'un sommet. Nous avons mené plusieurs expériences pour évaluer le comportement de l'algorithme sur des ensembles de données variés. Les expériences ont montré que l'algorithme est particulièrement pertinent pour les régimes convergents tels que les itérations de Lloyd. En dimension deux, l'algorithme présenté est un ordre de grandeur plus rapide que la reconstruction pour les itérations de Lloyd. En dimension trois, l'algorithme présenté a des performances équivalentes à la reconstruction quand tous les sommets bougent, cependant il est entièrement dynamique et améliore les solutions dynamiques précédentes. Ce résultat permet d'aller plus loin dans le nombre d'itérations de façon à produire des maillages de qualité supérieure. La localisation de points dans une subdivision de l'espace est un classique de la géométrie algorithmique; nous réexaminons ce problème dans le cas des triangulations de Rd pour exploiter une éventuelle cohérence entre les requêtes. Nous analysons, implementons, et évaluons une strategie de localisation de point adaptable aux distributions des requêtes, basée sur Jump & Walk, appellée Keep, Jump, &Walk. Pour des paquets de requêtes, l'idée principale est d'utiliser les requêtes précédentes pour améliorer le traitement de la requête courante. Maintenant à propos de la complexité d'une requête dans une triangulation de Delaunay, nous montrons que la hiérarchie de Delaunay peut être utilisée pour localiser un point q à partir d'une requête précédente p avec une complexité randomisée O(log ](pq)) pourvu que la triangulation vérifie certaines hypothèses (](s) désigne le nombre de simplex traversés par le segment s). Finalement, nous combinons la bonne adaptabilité à la distribution des requêtes du Keep, Jump, & Walk, et la bonne complexité de la hiérarchie de Delaunay, en une nouvelle stratégie de localisation de points appellée Keep, Jump, & Climb. Selon nos connaissances, Keep, Jump, & Climb est le premier algorithme adaptable aux distributions des requêtes qui marche en pratique et en théorie pour les triangulations de Delaunay--dans nos expérimentations, Keep, Jump, & Climb est plus rapide que la hiérarchie de Delaunay indépendamment de la cohérence spatiale des requêtes, et significativement plus rapide quand la cohérence spatiale est forte.