Cette recherche propose une interprétation d’un corpus centré sur le roman Œdipe sur la route d’Henry Bauchau, mais en faisant référence aussi aux autres œuvres du cycle œdipien et aux journaux de l’écrivain. C’est un travail qui opère à un double niveau, celui d’un projet ontologique des personnages errants en quête d’identité, et celui des stratégies d’écriture. La première partie de cette étude, munie méthodologiquement des travaux théoriques sur le mythe, propose une définition des concepts, des relations du mythe avec la littérature, de l’évolution du mythe œdipien. Au centre de l’ouvrage, à l’aide d’une analyse comparative, argumentative, herméneutique et stylistique, nous nous concentrons sur le roman de Bauchau, Œdipe sur la route. Nous analysons les rêves d’Œdipe et de l’écrivain, la route de Thèbes à Colone, la transformation d’un roi déchu, incestueux et aveugle à un aède, un artiste, un héros tutélaire d’Athènes, les symboles, les personnages principaux œdipiens et la vision des Roumains sur le mythe d’Œdipe. La dernière partie analyse l’écriture de Bauchau : la polyphonie, l’anachronie, la mise en abîme, l’intergénéricité, le statut des personnages, la dimension onirique, tout cela dans la lumière de l’intertexte et du palimpseste en tant que modèle herméneutique. Donc, l’originalité de l’écriture bauchautienne est qu’au centre des récits surajoutés, se poursuit le récit mythique avec des parties composantes passées, réelles ou recomposées, au profit d’expériences nouvelles, d’un regard nouveau porté sur l’homme.Mots clés : Henry Bauchau, Œdipe, mythe, symbole, identité, errance, route, catharsis, intertextualité, écriture, rêve. / This research paper proposes a study of a corpus focused on the novel Œdipe sur la route by Henry Bauchau, but also referring to other works of the œdipal cycle and to the writer’s diaries. It is a study which operates on a double level that of an ontological project of the wandering characters in search for identity, for purification and that of writing strategies. The first part of this study, based methodologically on the theoretical works on myth, suggests a definition of concepts, of the relations of myth with literature, of the evolution of œdipal myth. In the centre of our work, with a comparative, argumentative, hermeneutical and stylistic analysis, we focus on Bauchau’s novel, Œdipe sur la route. We analyze Œdipus and the writer’s dreams, the road between Thebes and Colonos, the transformation from an incestuous, murderer and blind king to a bard, an artist, a tutelary hero of Athens, the main symbols and characters in the œdipal cycle and we present the Romanians’ point of view on Œdipus’ myth. The final part analyzes Bauchau’s writing: the polyphony, the anachrony, the mise en abîme technique, the intergenericity, the status of characters, the dream dimension. Everything converges to a poetics of oscillation, of doubt, of wandering. These are emphasized by an analysis in the light of inter-text and palimpsest as a hermeneutical model. Thus, the originality of Bauchau’s writing is that in the centre of added stories, Sophocles’s mythic story continues with past, real or recomposed parts, for the benefit of new experiences, of a new vision on man.Keywords: Henry Bauchau, Œdipus, myth, symbol, identity, wandering, road, catharsis, intertextuality, writing, dream.

Cette thèse intitulée « Géographies de l’'enfance dans Alice's Adventures in Wonderland [1865] de Lewis Carroll, Le Avventure di Pinocchio [1883] de Carlo Collodi, Peter Pan [1911] de James Matthew Barrie et Le Petit Prince [1943] d'Antoine de Saint-Exupéry » s'intéresse, à partir d'une étude sur le traitement spatial, aux notions d'espace, de lieu et de monde de l’'enfance. Il s’'agit en effet d'aborder ces quatre ouvrages de littérature enfantine, non pas sous l'angle du personnage, mais sur la relation entre la géographie mise en place dans la narration et leur succès visible encore aujourd’hui. Si la rêverie de l’'enfance semble être au centre de la formation de mondes, c’'est sa matérialisation spatiale impromptue et éphémère qu'il faut retenir comme créatrice de lieux mythiques. En confrontant l'illusion enfantine, la relation entre espaces fantastique et espace merveilleux, la spatialisation des désirs enfantins et la dématérialisation de territoires par le souvenir et le conte, les hypothèses formulées dans cette thèse s’inscrivent dans les études sur les littératures de l'imaginaire et placent la spatialisation d’'une rêverie vers l'enfance au centre du propos. / Entitled « Childhood's Geographies in Alice'sAdventures in Wonderland [1865] by Lewis Carroll, Le Avventure di Pinocchio [1883] by Carlo Collodi, Peter Pan [1911] by James Matthew Barrie and Le Petit Prince [1943] by Antoine de Saint-Exupéry », this thesis investigates the concepts of space, place, and the world of childhood, by focusing on the treatment of space. We approach these four works in children's literature, not from the perspective of the character, but rather from that of the relationship between the geography developed through the narration, and the enduring popularity of the works. Although childhood fancy seems to be at the principle of the creation of worlds, the ephemeral materialization in space can be named the force behind the elaboration of mythical places. By putting in relation such notions as the children's illusion, the space of the fantastic, the space of the marvelous, the spatialization of children's desire and the de-materialization of territory by memory and tale, the hypotheses formulated in this thesis find their place among the studies on fantasy literature, and put the spatialization of fancy at the core of the discussion.

A presente dissertação reflete sobre a produção de dramaturgia contemporânea brasileira a partir do horizonte desvelado por duas obras em especial, Agreste, de Newton Moreno, e BR-3, de Bernardo Carvalho. O foco nos dois textos não anula o diálogo pertinente e necessário também com a esfera espetacular quando necessário. Através da ideia de deslocamento, analisamos, primeiramente, o devir errático associado às obras em duas instâncias; errar para além de sua própria esfera de gênero em busca do outro e do surgimento de novos de campos de subjetividade; errar como parte de uma demanda interna e estrutural através de personagens em constante movimento e da exploração de um Brasil longínquo e extenso. Em seguida, empenhados na investigação da atuação crítica de tais obras, tendo como hipótese sua relação não documental com o presente, analisaremos o tratamento da subjetividade na elaboração das personagens, e o tratamento da ideia de território. Para além da dualidade entre realidade e representação, descortina-se a possibilidade de narrativas imagéticas, ou seja, em que os espaços autorais e imaginários possuem grande importância. Tais considerações guiam, por último, o questionamento a respeito da dimensão política de tais obras, percorrendo, primeiramente, algumas divergências que marcam o chamado teatro político. / This work reflects on the production of Brazilian contemporary dramaturgy from the unveiled horizon by two works in particular: Agreste, by Newton Moreno, and BR-3, by Bernardo Carvalho. The focus on both texts does not annul the relevant and necessary dialogue with the spectacular realm when required. Through the idea of displacement we analyze first the erratic becoming associated with the works in two instances; err beyond their own sphere in search of others and the emergence of new fields of subjectivity; err as part of an internal and structural demand, characters in constant motion, exploring a distant and extensive Brazil. Then engaged in research the critical role of the works under the hypothesis of their non-documentary relationship with the present, we will examine the treatment of subjectivity in the development of the characters, and the treatment of the territory ideia. In addition to the duality between reality and representation, it becomes visible the possibility of imagery narratives, where the authorial and imaginary spaces are of great importance. Such considerations guide, lastly, the question about the political dimension of such works, browsing, first, some differences that mark the so-called political theater.

A presente dissertação reflete sobre a produção de dramaturgia contemporânea brasileira a partir do horizonte desvelado por duas obras em especial, Agreste, de Newton Moreno, e BR-3, de Bernardo Carvalho. O foco nos dois textos não anula o diálogo pertinente e necessário também com a esfera espetacular quando necessário. Através da ideia de deslocamento, analisamos, primeiramente, o devir errático associado às obras em duas instâncias; errar para além de sua própria esfera de gênero em busca do outro e do surgimento de novos de campos de subjetividade; errar como parte de uma demanda interna e estrutural através de personagens em constante movimento e da exploração de um Brasil longínquo e extenso. Em seguida, empenhados na investigação da atuação crítica de tais obras, tendo como hipótese sua relação não documental com o presente, analisaremos o tratamento da subjetividade na elaboração das personagens, e o tratamento da ideia de território. Para além da dualidade entre realidade e representação, descortina-se a possibilidade de narrativas imagéticas, ou seja, em que os espaços autorais e imaginários possuem grande importância. Tais considerações guiam, por último, o questionamento a respeito da dimensão política de tais obras, percorrendo, primeiramente, algumas divergências que marcam o chamado teatro político. / This work reflects on the production of Brazilian contemporary dramaturgy from the unveiled horizon by two works in particular: Agreste, by Newton Moreno, and BR-3, by Bernardo Carvalho. The focus on both texts does not annul the relevant and necessary dialogue with the spectacular realm when required. Through the idea of displacement we analyze first the erratic becoming associated with the works in two instances; err beyond their own sphere in search of others and the emergence of new fields of subjectivity; err as part of an internal and structural demand, characters in constant motion, exploring a distant and extensive Brazil. Then engaged in research the critical role of the works under the hypothesis of their non-documentary relationship with the present, we will examine the treatment of subjectivity in the development of the characters, and the treatment of the territory ideia. In addition to the duality between reality and representation, it becomes visible the possibility of imagery narratives, where the authorial and imaginary spaces are of great importance. Such considerations guide, lastly, the question about the political dimension of such works, browsing, first, some differences that mark the so-called political theater.

L’œuvre poétique d’António Feijó (1859-1917) s’inscrit dans un moment historique marqué de différents courants littéraires: Réalisme, Naturalisme, Parnasse, Décadentisme et Symbolisme. La nouvelle ère du progrès en Europe provoque un renouvellement littéraire. Avide des nouvelles émotions qui arrivaient de Paris dominée par le Réalisme, Feijó remet en question le Romantisme. Depuis sa première publication poétique, Transfigurações (1882), datant de ses années de jeunesse, jusqu’à Novas Bailatas (1926), sa poésie présente une vaste perspective thématique lyrique. Les poèmes réunis dans Transfigurações résument les différentes phases de l’évolution de l’esprit de Feijó, sous l’influence du pessimisme de Schopenhauer et de Leopardi aux doctrines d’Auguste Comte et d’Herbert Spencer. Le pessimisme et la mort s’imposent presque tout au long de sa poésie. Ces doctrines chez Feijó dévoilent une métaphysique et un goût pour la spiritualité. Le poète hésite à trouver sa voie, mais il est influencé par la crise de transition du XIXème au XXème siècle, dominée par l’esthétique décadente qui précède l’esthétique symboliste. Avec son départ vers le Brésil puis vers la Suède, le spleen s’empare plus après la mort de son épouse. Feijó justifie alors sa qualité de poète de l’Amour et de la Mort, thèmes constants dans son œuvre où domine la figure de la Femme. Ce travail examine l’ensemble du corpus de l’œuvre poétique d’António Feijó, contemporain d’Eça de Queirós et mal connue en Europe et au Portugal. Elle apparait comme le résultat d’une époque que le poète synthétise et qui ouvre un chemin original dans une phase de transition tardive du post-romantisme portugais. / The poetic work of António Feijó (1859-1917) is part of a historical moment of different literary currents: Realism, Naturalism, Parnassianism, Decadentism and Symbolism. The new era of progress in Europe originates a literary renewal. Avid of the new emotions that arrived from Paris dominated by Realism, Feijó questions Romanticism. Since its first publication, Transfigurações (1882), written in his youth years until Novas Bailatas (1926), his poetry presents a broad perspective thematic. The poems gathered in Transfigurações summarize the different stages of the intellectual evolution of Feijó, under the influence of the pessimism of Schopenhauer and Leopardi to the doctrines of Auguste Comte and Herbert Spencer. Pessimism and death are presents almost in all his poetry. These doctrines in the work of Feijó unveil his metaphysics and his taste for spirituality. Feijó seems reluctant to find its way, but he is influenced by the crisis of transition from the 19th to the 20th century, dominated by the Decadent aesthetics that precedes the Symbolist aesthetic. With his departure to Brazil and then to Sweden, the spleen takes possession more clearly of Feijó, after the death of his wife. Feijó then justifies his quality of the poet dealing with love and death, constant themes in his work, dominated by the figure of the Woman. This work explores the whole corpus of the poetic work of António Feijó, a contemporary of Eça de Queirós and a poet poorly known in Europe as well as in Portugal. He appears as the result of an era that he synthesizes, but which opens an original road in a late transition of the Portuguese post-romanticism.

The goal of this research was to investigate further the role of air redistribution and continental water storage changes in the excitation of both the annual and Chandler wobbles for the period 1900-85. The annual and Chandler excitations from air redistribution have been studied by Wilson and Haubrich (1976), Wahr (1982), and Hinnov and Wilson (1985). Annual excitation from water storage was estimated by Van Hylckama (1970), Hinnov and Wilson (1985), and Chao and O'Connor (1988). Chandler wobble excitation from water storage changes has been addressed only by Hinnov and Wilson (1985). This study was undertaken as a refinement to their encouraging but preliminary results. / text

L'écoulement de jeu est un phénomène très important dans les turbomachines. Il provient du mouvement relatif entre la pale et la paroi d'extrémité, et la différence de pression à travers la pale. L'écoulement de jeu est extrêmement complexe pour sa nature tridimensionnelle et instable, et son existence conduit à de nombreux effets défavorables, par exemple, les pertes de performance aérodynamique et les émissions de bruit. C'est pourquoi l'écoulement de jeu a motivé de nombreuses recherches expérimentales et numériques. Afin d'améliorer la compréhension du écoulement de jeu et le bruit de large bande associé, une campagne de recherche a été menée au LMFA. En ce qui concerne l'écoulement de jeu, cette campagne de recherche comprend une expérience avec des technologies de mesure avancées, un calcul zonal LES et une série de calculs RANS / URANS. L'expérience et les simulations considèrent une configuration simple de l'écoulement de jeu à un faible nombre de Mach. Les résultats expérimentaux et numériques sont analysés de façon systématique et approfondie dans la présente étude. Enfin, des efforts sont déployés pour la modélisation et la prédiction du bruit à large bande avec des résultats expérimentaux et numériques. On observe dans l'expérience un système à multiple-tourbillon, avec une tourbillon de jeu intense. Les différentes analyses sur les caractéristiques d'écoulement montrent un bon accord entre l'expérience et le ZLES dans la région du écoulement de jeu. L'approche zonale (RANS-LES) s'avère être un outil puissant pour fournir une description détaillée du écoulement de jeu, avec un coût de calcul limité. Cependant, les calculs RANS et URANS surestiment globalement la diffusion de la tourbillon. En outre, l'oscillation du tourbillon de jeu est étudiée en utilisant des champs instantanés de PIV et l'amplitude d'oscillation est évaluée. La réponse dynamique de la tourbillon de jeu est également étudiée avec URANS aux fréquences choisies. Deux modèles de prédiction du bruit en champ lointain, correspondant à deux sources acoustiques différentes, sont reformulés et mis en oeuvre avec les données de champ proche des simulations numériques. Ces prédictions sont comparées aux mesures à champ lointain. En utilisant les données ZLES, le modèle de l’écoulement de jeu sur-estime le bruit généré dans la région de jeu. Le modèle de bruit de bord de fuite est implémenté avec les données ZLES et les données RANS et fournit une très bonne prédiction dans une large bande de fréquence. / The tip-leakage flow is a common flow feature in turbomachines. It originates from the relative motion between the blade tip and the end-wall, and the pressure difference across the blade. The tip-leakage flow is extremely complex for its three-dimensional unsteady nature, and its existence leads to many unfavourable effects, such as aerodynamic performance losses and noise emissions. These issues have motivated extensive experimental and numerical researches from both aerodynamic and aeroacoustic points of view. In order to improve the understanding of the tip-leakage flow and its associated broadband noise, a research campaign has been carried out at LMFA. Regarding the tip-leakage flow, this research campaign includes an experiment with advanced measurement technologies, a zonal LES computation and a series of RANS/URANS computations. Both the experiment and the simulations consider a single-airfoil configuration at low Mach number. Experimental and numerical results are analysed systematically and thoroughly in the current study. Finally, efforts are put on the broadband noise modelling and prediction based on the experimental and numerical results. A multi-vortex system with an intense tip-leakage vortex is observed in the experiment. The various analyses of the flow characteristics show a good agreement between the experiment and the ZLES in the blade tip region. The zonal (RANS-LES) approach proves itself to be a powerful tool to provide a detailed description of the tip-leakage flow, with a limited computational cost. However, the RANS and URANS computations globally over-estimate the diffusion of the tip-leakage vortex. Furthermore, the random oscillation of the tip-leakage vortex is investigated using PIV instantaneous flow fields and the wandering amplitude is evaluated. The dynamic response of the tip-leakage vortex is also studied with URANS at selected frequencies. Two far-field noise prediction models, corresponding to two different acoustic sources, are reformulated and implemented with the near-field data from the numerical simulations. These predictions are compared to the far-field measurements. Using the ZLES data as input, the blade-tip self-noise model is found to over-estimate the noise generated in the blade-tip region. The trailing-edge noise model is implemented with the time-averaged ZLES and the RANS near-field data, and yields a very good prediction within a broad range of frequency.

Esta dissertação trata dos conceitos ligados ao caminhar urbano, ao ato de caminhar e às diferenças de leitura de tempo e espaço entre nômades e sedentários na civilização urbana. A compreensão das diversas maneiras de caminhar como um ato de ler e escrever o espaço urbano auxilia na compreensão dos processos que transformaram a cidade e à sua arquitetura através dos tempos, até o surgimento das mídias eletrônicas e o advento do ciberespaço. / This study is on the several linked concepts to the action of urban walking and the understanding of the differences of reading of time and space among nomads and sedentary. The comprehension of walking as an action of to read and to write on the urban space it aids in the understanding of the processes of transformations of the city and of her architecture through the times, until the appearance of the electronic medias and the coming of the cyberspace.

Theoretical ? practical work with theme The Flying Dutchman is inspiration legends about myth neveranding wander. Jude Ahasver and The Flying Dutchman have been symbolic protagonists this myth in our culture space. This work is about modifications legends. This work is about different creative branch of knowlendge and periods, which have been inspiration these stories. The practical work is realization ceramic objects. Objects are stylization to appearance historical Dutch ship (fluyt, smaller ship with three masts, with low draft, with pear ? shaped). It is symbol neverending wander along sea. Technological proces realization is specific variation middle ages smoke ceramics.

Dans le panorama de la littérature colombienne contemporaine, Jorge Franco (Medellín, 1962) et Juan Gabriel Vásquez (Bogota, 1973) sont deux écrivains dont l’œuvre, aussi riche que variée, leur a valu une reconnaissance indéniable dans le champ de l’écriture littéraire en castillan. Les univers fictionnels de leurs romans étant cadencés par le mouvement et le croisement d’itinéraires, cette thèse explore les principales caractéristiques de différentes dynamiques du déplacement dans leur prose, notamment dans les romans Paraíso Travel (2001) et Melodrama (2006), de Jorge Franco et Los informantes (2004) et El ruido de las cosas al caer (2011), de Juan Gabriel Vásquez.Ce déplacement, choisi ou contraint, planifié ou spontané, se présente dans l’œuvre de chaque écrivain sous la forme du voyage, de la déambulation, de l’évasion, de la fuite ou de l’exil. Ainsi, ce travail mobilise les concepts de centre et périphérie, de nation, d’immigration, de langue première et seconde, le croisement de cultures et l’ouverture d’horizons étant au cœur de la réflexion.Dans quelle mesure le drame de l’histoire colombienne représente-t-il un déclencheur d’évasion majeur dans les romans de Jorge Franco et de Juan Gabriel Vásquez ? Comment le voyage dans le passé constitue-t-il un outil de travail collectif au service d’une tentative d’identification générationnelle ? Pourquoi et comment la translation de l’individu d’un espace à l’autre peut-elle être à l’origine de sa transformation ? Enfin, dans quelle mesure s’agit-il d’itinéraires textuels clés dans la création artistique ? Cette thèse observe de près la démultiplication de l’espace et du temps : une superposition de chemins qui dynamise le parcours de l’écriture.Le travail s’ouvre sur une étude de la mort en tant que déclencheur discursif et fictionnel, en ce qu’elle lance à la fois le départ de la quête littéraire et la création de l’espace par l’acte même de la déambulation. L’errance et la fuite, métaphores de ce grand voyage vers la mort qu’est la vie, sont indissociables de la dynamique de l’écriture. De même, l’analyse porte sur la relation entre la fictionnalisation de la mort et le spectre de l’effacement de l’instance auctoriale. Ainsi les notions d’origine, de point de départ, de destination et de point d’arrivée se conjuguent-elles avec les notions de transit, de passage, de prolongement et de continuité.La seconde partie étudie comment le déplacement combine l’exploration et la création de l’espace urbain dans une dynamique qui cherche à éclairer les espaces obscurs de villes comme Bogota, New York et Paris au cours du XXe siècle. Il s’agit d’analyser l’approche littéraire de l’histoire récente, procédé où la mémoire, la peur et le déplacement seront les pistes mêmes de la compréhension des secrets de ces villes.Enfin, ce travail s’intéresse à l’entreprise des voyages extra-urbain et transfrontalier, motifs qui supposent le questionnement des notions d’idéalisation et d’exotisme, conditionnées par le déplacement physique à travers le territoire, la nation et leurs limites. Ce chapitre porte également un regard sur le voyage temporel, la convocation subjective et « désordonnée » du passé et les différents degrés de temporalité, deux aspects liés à la construction filmique et à la dynamique chronotopique du récit. Ce voyage temporel s’avère en effet nécessaire à l’identification générationnel d’un je et à la compréhension de soi. Ainsi, l’écriture à distance et l’écriture de la distance permettent une ouverture vers de nouveaux horizons qui facilitent la compréhension des épisodes traumatiques de l’histoire.En somme, à travers les dynamiques du déplacement, cette thèse s’interroge sur la place que Jorge Franco et Juan Gabriel Vásquez accordent au sujet déambulateur dans un monde en mouvement. / In the panorama of contemporary Colombian literature, Jorge Franco (Medellin, 1962) and Juan Gabriel Vásquez (1973) are two writers whose works, as rich as varied, have granted them an undeniable acknowledgement within the field of literature written in Castilian. Since movement and the cross between different itineraries set the cadence of the fictional universes of their novels, this thesis explores the principal characteristics of diverse types of dynamics of displacement in their works, particularly in Jorge Franco’s novels Paraíso Travel (2001) and Melodrama (2006), and in Juan Gabriel Vásquez’s Los informantes (2004) and El ruido de las cosas al caer (2011).This displacement, whether chosen or under duress, whether planned or spontaneous, appears in the works of each writer in the form of travel, wander, evasion, escape or exile. This work mobilises thereby the concepts of centre and periphery, nation, immigration, first and second language, placing the crossroad of culture and the opening of horizons at the heart of reflection.To what extent the drama of Colombian history represents a major trigger for evasion in the novels of Jorge Franco and Juan Gabriel Vásquez? How travelling to the past constitutes a tool of collective work in order to find a generational identification? Why and how the transposition from one space to another can be the origin of the transformation of the individual? Finally, to what extent these textual itineraries are the key to artistic creation? This thesis closely observes the dispersal of space and time: a superposition of paths that galvanises the writing’s route.The work opens with a study of death as a discursive and fictional trigger, since it launches the start of literary quest as well as the creation of space by the act of walking. Wandering and escaping, both understood as metaphors of that great journey towards death that defines life, are inseparable from the dynamic of writing. Likewise, the analysis takes a look at the relation between the fictionalisation of death and the spectrum of the erasure of the auctorial stage. Therefore, different notions such as origin, starting point, destination and point of arrival are combined with other notions such as transit, passing, prolongation and continuity.Displacement also combines the exploration and the creation of urban space, within a dynamic that endeavours to enlighten both the dark spaces of cities like Bogota, New York, Paris or Medellin, and the most obscure zones of their history, during 20th and 21st centuries. By analysing the literary approach of recent history, this part studies how memory, fear and displacement are the clues to understand history. Furthermore, this chapter takes an interest in temporal travelling; a subjective and “disordered” convocation of the past and different degrees of temporality: two aspects that are connected to a filmic construction and a chronotopic dynamic of the tale. This temporal journey proves to be necessary for both the generational identification and the comprehension of the self.Finally, this work analyses the undertaking of a cross-border journey, a motif that implies questioning notions such as idealisation and exoticism, which are conditioned by the physical displacement throughout territory, nation and their limits. Therefore, both writing from the distance and writing the distance lead to the study of the figure of the writer as a traveller. Trespassing boundaries resonates with the universality of wandering and facing history at the dawn of 21st century: an opening to new horizons that facilitates the comprehension of traumatic episodes of history.By studying the dynamics of displacement in the works of Jorge Franco and Juan Gabriel Vásquez, this thesis actually wonders about the place that both writers accord to the wanderer subject within a moving world.