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

The Master thesis here presented opens the theme of spirituality and its role in the lives of people with learning disabilities. Its subtitle "searching for meaning of life" shows that the term spirituality contains a variety of different possibilities which lead to the feeling of fulfilment, satisfaction, joy etc. Feelings which last not only for a moment, but stay present despite the disabilities the everyday life may bring. The community of l'Arche represents one of the places where the life of people with learning disabilities together with people without this type of handicap is possible and where they all can perceive the uniqueness and enrichment of their common life. Moreover, this lived experience very often answers the question for the meaning of life. The aim of this Master thesis is to discover the specificity or "the spirit" of the community of l'Arche, mainly by the words of its members with learning disabilities. For this reason, a participatory research has been chosen as a research method.

This work will consist of an analysis of the book The Three Halves of Ino Moxo and other wizards of the Amazon (Tres mitades de Ino Moxo y otros brujos amazónicos) written by the Peruvian writer César Calvo. It will mainly focus on the author's attempt to understand the different and wrongfully underestimated spiritual world of the Amazonian Indians. Firstly, it will briefly introduce the author and mention the situation in Peruvian literature of the time. It will then look at the context in Latin American literature and will point out the common aspects of the book with novels of the jungle, with indigenist literature, and with the novels of magic realism and marvelous real. The core of the work will lie in the interpretation of the text. It will try to answer the question on the genre of the book and will then define its composition. Of particular importance will be the chapter on style, which will analyse in details the lyrical character of this prose. It will give evidence of the frequent use of poetic figures in the book by presenting examples thereof. It will look at the way of creating time and space. The thematic analysis will capture particular topics from the viewpoint of the world of the Amazonian Indians by looking at the conception of its typical characters. The work will lead to an...

The purpose of this study was to investigate how social workers within LSS relate to her professional space in the writing practice. The method we used to collect data was through qualitative semi structured interviews. Our study found that when there are no clear guidelines for writing an investigation text, the responsibility falls on the individual social worker. The social worker has the ability to customize the language so that a user with low reading comprehension understands, but they choose not to because they are hindered by a strong idea from the organization that a representative of a authority should write correctly and professionally, which becomes a form of power.

Sammanfattning Denna vetenskapliga essä undersöker estetiska lärprocesser med inriktning mot teater och drama inom högre utbildning ur ett fenomenologiskt perspektiv. Essän studerar i första hand hur konstnärliga och pedagogiska processer kan mötas i en akademisk kontext. Jag prövar att se teaterns gestaltande språk som möjlighet till reflektion utifrån olika perspektiv. Med exempel från min egen yrkespraktik som högskolelärare i estetiska lärprocesser skapar jag och undersöker begreppet praktiskt-estetisk-gestaltande analys, som jag kallar PEG-analys. I PEG-analysen framgår det att fysiska uttryck och begrepp konnoterar olika till olika personer vilket ger möjlighet till en fördjupad förståelse av kommunikationen i de situationer vi gestaltar. Jag kommer bl.a. fram till att det finns fem komponenter som samspelar när arbetet med estetiska lärprocesser fungerar tillfredställande i den akademiska kontexten. Essän lyfter också fram skillnaden mellan att arbeta med estetiska processer i ett konstnärligt rum och i ett akademiskt rum. / Abstract - The story of aesthetic processes outside the room of art. Aesthetic learning processes in higher education. This scientific essay explores aesthetic processes of learning with focus on theatre and drama within higher education from a phenomenological perspective. This paper is primary studying how artistic and pedagogical processes can meet in an academic context. I try to see the shaping and creative language of theatre as a possibility to reflection from different perspectives. I create and explore the concept practical-aesthetic- acting analysis with examples from my own practical experience as a university teacher of aesthetic processes of learning, which I call PEG-analysis. It appears in the PEG- analysis that physical expressions and concepts connote different to different people, this gives potential to a deeper understanding of communication in the situations we act out. I reach the conclusion that five components in interaction are needed for satisfying work with aesthetic processes of learning within the academic sphere. The essay also emphasizes the difference between working with aesthetic processes of learning within an artistic sphere and an academic sphere.

Le nombre de périphériques mobiles (smartphone, tablette, ordinateur portable, etc.) et les internautes augmentent continuellement. En raison de l'accessibilité du cloud computing, de l'Internet et de l'Internet des Objets (IdO), les utilisateurs utilisent de plus en plus d'applications logicielles qui provoquent un effet croissant sur les émissions de gaz à effet de serre. Ainsi, les TIC (Technologies de l'Information et de la Communication) sont responsables d'environ 2% des émissions mondiales de gaz à effet de serre qui sont équivalentes à celles émises par l'industrie aérienne. Selon des rapports récents, le Groupe d'experts Intergouvernemental sur l'Evolution du Climat (GIEC), les émissions de CO2 dus aux TIC augmentent rapidement. Néanmoins, les TIC, en permettant de résoudre des problèmes complexes dans d'autres secteurs, peuvent grandement et facilement participer pour réduire une partie importante des 98% restants des émissions mondiales de CO2. L'utilisation du logiciel implique des opérations matérielles qui sont physiquement responsables de la consommation d'énergie. Par conséquent, le logiciel est indirectement impliqué dans la consommation d'énergie. Ainsi, nous devons réduire la consommation d'énergie du logiciel tout en conservant les mêmes fonctionnalités pour le logiciel afin de créer des logiciels durables et verts. Premièrement, dans ce travail de thèse, nous définissons les termes «durable et vert» dans le domaine du logiciel afin de créer des logiciels respectant les critères de ces termes. Pour créer un produit logiciel, nous devons suivre un processus d'ingénierie logicielle. Par conséquent, nous décrivons des critères durables et verts à respecter après chaque étape de ce processus afin d'établir un processus d'ingénierie logicielle durable et écologique. En particulier, nous nous concentrons sur l'estimation de la consommation d'énergie du logiciel. De nombreux travaux ont essayé de proposer divers outils pour estimer la consommation d'énergie due aux logiciels afin de réduire l'empreinte carbone. Pendant longtemps, les solutions proposées se sont concentrées uniquement sur la conception du matériel, mais ces dernières années, les aspects logiciels sont également devenus importants. Malheureusement, ces études, dans la plupart des cas, ne considèrent que le CPU et négligent tous les autres composants. Les modèles de consommation d'énergie existants doivent être améliorés en tenant compte de plus de composants susceptibles de consommer de l'énergie pendant l'exécution d'une application. L'écriture d'un logiciel durable, performant et vert nécessite de comprendre le comportement de consommation d'énergie d'un programme informatique. L'un des avantages est que les développeurs, en améliorant leurs implémentations du code source, optimiseront la consommation d'énergie du logiciel. De plus, il existe un manque d'outil d'analyse pour surveiller dynamiquement la consommation d'énergie du code source de plusieurs composants. Ainsi, nous proposons GMTEEC (Méthodologie Générique d'Outil pour Estimer la Consommation Energétique) qui se compose de quatre couches aidant et guidant la construction d'un outil permettant d'estimer la consommation énergétique d'un logiciel. Ainsi, dans notre travail, en respectant les couches de GMTEEC, nous créons TEEC (Outil pour Estimer la Consommation Energétique) qui repose sur une formule mathématique établie pour chaque composant (CPU, mémoire, disque dur, réseau) susceptible de consommer de l'énergie afin d'estimer la consommation totale d'énergie du logiciel composée de la somme de chaque consommation d'énergie par composant. De plus, nous ajoutons à TEEC la capacité de localiser dynamiquement les points chauds qui sont les parties du code source consommant la plus grande quantité d'énergie afin d'aider et guider les développeurs à optimiser leur code source et à créer des logiciels efficaces, durables et verts... [etc] / The number of mobile devices (smartphone, tablet, laptop, etc.) and Internet users are continually increasing. Due to the accessibility provided by cloud computing, Internet and Internet of Things (IoT), users use more and more software applications which cause an increasing effect on gas emission. Thus, ICT (Information and Communication Technologies) is responsible of around 2% worldwide greenhouse gas emissions which is equivalent of that emitted by the airline industry. According to recent reports, the Intergovernmental Panel on Climate Change (IPCC), CO2 emissions due to ICT are increasing widely. Nevertheless, ICT, in allowing to solve complex problems in other sectors, can greatly and easily participate to reduce significant portion of the remaining 98% of global CO2 emissions. The use of software implies hardware operations which are physically responsible of energy consumption. Consequently, software is indirectly involved in the energy consumption. Thus, we need to reduce software energy consumption while maintaining the same functionalities for the software in order to build sustainable and green software. Firstly, in this thesis work, we define the terms sustainable and green in the area of software development. To build a software product, we need to follow a software engineering process. Hence, we define and describe sustainable and green criteria to be respected after each step of this process in order to establish a sustainable and green software engineering process. Then, we focus on the software energy consumption estimation. Many research works tried to propose various tools to estimate the energy consumption due to software in order to reduce carbon footprint. Unfortunately, these studies, in the majority of cases, consider only the CPU and neglects all others components. Existing power consumption methodologies need to be improved by taking into account more components susceptible to consume energy during runtime of an application. Writing sustainable, power efficient and green software necessitates to understand the power consumption behavior of a computer program. One of the benefits is the fact that developers, by improving their source code implementations, will optimize software power consumption. Moreover, there is a lack of analyzing tool to dynamically monitor source code energy consumption of several components. Thus, we propose GMTEEC (Generic Methodology of a Tool to Estimate Energy Consumption) which is composed of four layers assisting developers to build a tool estimating the software power consumption. Hence, in our work, respecting the layers of GMTEEC, we develop TEEC (Tool to Estimate Energy Consumption) which is based on mathematical formula established for each component (CPU, memory, hard disk, network) in order to estimate the total software energy consumption. Moreover, we add in TEEC the capacity to locate dynamically the hotpoints which are the parts of source code consuming the greater amount of energy in order to help and guide developers to optimize their source code and build efficient, sustainable and green software. We performed a variety of experiments to validate the accuracy and quality of the sustainable and green software engineering process and TEEC. The results demonstrate the possibility to save significant quantity of energy and time at limited costs with an important positive impact on environment

The globalization of economies and the technology development have both increased opportunities to businesses as well as challenges. Multicultural workforces and other values in the market compared with the home market lead to complexity in the management control when a business establishes abroad. Individuals’ nationalities impact their behaviors and values and it is the management’s task to coordinate the members’ activities in a way that is beneficial for the company. The banking industry is a knowledge-intensive industry, meaning the employee’s knowledge is the bank’s biggest resource. To create organizational knowledge, it is important that the knowledge is shared within the company. Effective knowledge sharing is hard to accomplish in a multicultural company since it is depending on communication between the employees which can be aggravated by cultural differences. The more distant the involved national cultures are, the harder it will be to achieve intercultural communication. The Swedish culture is very different from the Chinese culture. China’s economy has developed fast since it opened up to the world market in the 70’s. Today, several Swedish companies are established in China. The purpose with this study is to examine how the Chinese culture impacts Swedish knowledge-intensive companies established in China and to increase the understanding on how to overcome the cultural barriers that are affecting the managing of knowledge sharing. Cultural clashes can imply risk to a company if they affect the efficiency of the internal processes and must therefore be avoided. This field study was conducted in Shanghai, China at Swedish banks to see how they worked with the cultural differences. Interviews were made with staff of both Chinese and Nordic heritages to see how the cultural differences impacted their operations. The results showed that there are several cultural clashes that affect effective knowledge sharing processes within the companies. The management tries to implement the Swedish way of working in the branches, but the Chinese culture has a strong impact on the communication channels and it creates confusions and misunderstanding between the Nordic and Chinese employees. Cultural understanding and adjustment to the cultural conditions have been shown from earlier researches to reduce cultural clashes. This study supports those arguments by showing that a higher level of intercultural communication leads to increasing cultural understanding and a quicker adjustment to the organization’s way of working. The study also showed that the national culture’s impact on individual behavior was stronger to individuals that have had less foreign exchanges. The study contributes with suggestions of enlightening cultural differences more by formal meetings to increase the cultural understanding within the companies, as well as intercultural team works over department units should be implemented. / Globaliseringen och den tekniska utvecklingen på världsmarknaden har lett till ökade möjligheter för företag likväl som nya utmaningar. Styrningen av företag som expanderat till nya marknader har blivit mer komplex då arbetsstyrkan består av en mängd olika nationaliteter och omgivningen utgår från andra värderingar än hemmarknaden. Individers nationalitet påverkar deras beteenden och värderingar och det är ledningens uppgift att få de anställda att koordinera sina aktiviteter på ett sätt som bäst gynnar företaget. Banksektorn är en kunskapsintensiv industri, vars främsta resurs är de anställdas kunskap. För att skapa en hög kunskapsbas inom företaget är det viktigt att de anställda delar sin kunskap med andra. I ett multikulturellt företag är effektiv kunskapsöverföring svårare att uppnå eftersom kommunikationen mellan anställda påverkas av deras kulturella beteenden och värderingar. Uppdraget blir svårare ju mer de anställdas värderingar skiljer sig från varandra. Den svenska kulturen skiljer sig markant från den kinesiska. Kina är ett land vars ekonomi har fått ett uppsving efter att de öppnade upp gränserna för världsmarknaden på 70-talet. Idag finns det en mängd svenska företag etablerade i Kina. Syftet med examensarbetet är att förklara och öka kunskapen om hur den kinesiska kulturen påverkar svenska företag i Kina som har kunskap som främsta resurs. Kulturella skillnader kan innebära risker för ett företag ifall de påverkar effektiviteten av deras interna processer och kulturella konflikter måste därför undvikas. Examensarbetet utfördes således genom en fältstudie inom svenska banker etablerade i Shanghai, Kina. Intervjuer med personal av både nordiskt och kinesiskt ursprung gjordes för att ta reda på hur kulturella skillnader påverkade och hanterades inom företagen. Resultatet visade att det fanns flera skillnader som utgjorde barriärer för effektiv kunskapsöverföring inom företagen. Ledningen försöker implementera det svenska sättet att arbeta på inom bankerna, men den kinesiska kulturen har ett starkt grepp om hur kommunikationen genomförs och det skapar följaktligen missförstånd mellan nordiska och kinesiska kollegor. Kulturell förståelse och anpassning till kulturella villkor har av tidigare studier visats vara viktigt för att minimera kulturella konflikter. Det här examensarbetet stödjer de argumenten genom att påvisa att en högre mängd av interkulturell kommunikation leder till ökad förståelse för andra kulturers värderingar, vilket i sin tur leder till att de anställda har lättare att anpassa sig till organisationens sätt att arbeta. Studien visade även att påverkan av den kinesiska kulturen var starkare hos individer som hade haft mindre utbyte med nordiska kollegor. Examensarbetet förslår därför att kommunikationen av kulturella skillnader ska synliggöras mer genom formella möten samt att fler interkulturella grupparbeten över divisionsgränserna behöver implementeras för att ge de anställda insikt av kulturella effekter.

A presente reflexão tem como objetivo analisar a mútua construção entre religião e cidade. Mais especificamente, procura-se investigar como atividades, casas e crenças católicas concebem e se relacionam com espaços e atores urbanos, articulando circuitos, manchas e pedaços na cidade de São Paulo. Por outro lado, esta abordagem também visa analisar como a cidade, enquanto realidade social e historicamente construída, formatou a criação, bem como reflete-se nas atividades, casas e crenças católicas pesquisadas. O objeto empírico desta pesquisa consiste em uma organização religiosa geralmente classificada como comunidade de vida e aliança no Espírito Santo, cujo nome é Aliança de Misericórdia, analisada antropologicamente por meio do recurso teórico-metodológico etnográfico. A Aliança de Misericórdia constitui-se como ator religioso, constrói suas casas e atividades e, desse modo, se relaciona com a cidade, por meio de uma noção alargada de pobreza. Tal concepção cristã da pobreza é responsável pela formação de várias alianças, pelas quais a comunidade observada legitima e sustenta a sua atuação em diferentes domínios urbanos. Por fim, a noção de pobreza desenvolvida pela Aliança de Misericórdia implica na demonização de certos espaços e atores urbanos definidos como pobres em um sentido material, o que articula uma definição da cidade como um verdadeiro inferno, o qual procura-se evangelizar por diversos e novos métodos. / This dissertation examines the mutual construction of religion and the city. More specifically, the analysis is focused in how catholic activities, houses and beliefs conceive and are related to urban spaces and actors, articulating circuits, patches and turfs in São Paulo. On the other hand, this approach also analyses how the city, as a social reality historically constructed, framed formatted the establishment, as well as how it reflects on the catholic activities, houses and beliefs observed. The empirical object of this research consists of a religious organization usually classified as a life and alliance within the Holy Ghost community, called Mercy alliance, anthropologically analyzed by means of the ethnographic theoretical and methodological resource (method). The Mercy Alliance is constituted as a religious actor, which establishes its houses and activities, therefore relating itself to the city, by means of a broad notion of poverty. This Christian notion of poverty is responsible for the making of several alliances, on which the observed community legitimates and supports its actions in different urban domains. Finally, the notion of poverty developed by the Mercy Alliance engenders the demonization of certain urban spaces and actors, classified as poor in a material sense, thus articulating a definition of the city as hell that shall be evangelized by new and different methods.

O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias. / The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.

O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias. / The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.