Dissertationen zum Thema „Contes – Adaptations“

Il était une fois les réécritures de contes, une production particulièrement vivante dans le monde de l’édition aujourd’hui. L’actualisation y est fréquente : petits chaperons rouges et chats bottés se promènent aujourd’hui dans les rues de la ville où ils rencontrent des loups en voiture ou des ogres de l’industrie. La parodie a bien sûr une fonction ludique, mais pas seulement, car en croisant le conte et la ville, ce sont deux univers de références qui se font face et qui se jaugent : les schémas hérités des contes classiques sont revus et corrigés au nom de nouvelles valeurs tandis que le pays des merveilles interroge celui de la réalité, avec son béton, sa circulation et sa logique toute capitaliste, si bien que c’est la ville qui sort finalement révélée de ce passage en féérie. Mais le phénomène est surtout à replacer dans l’histoire du genre. Grâce aux récents travaux de chercheurs re-contextualisant l’émergence du conte de fées sur la scène européenne, l’on s’aperçoit qu’il ne s’agit pas d’une pratique propre à l’époque contemporaine, mais au contraire de ce qui pourrait bien apparaître comme un trait du genre. Perrault déjà, par la scénographie de la vieille conteuse, offrait à son public de citadins des récits pseudo-naïfs l’invitant à dépasser l’illusion d’une parole décrochée pour trouver la « Morale trés-sensée ». Ainsi, par leur caractère polyphonique, les contes entrent moins dans une logique de transmission que de dialogue entre les générations, et pourraient pour cela être considérés comme les mythes de la modernité
Once upon a time there were rewritten fairy tales, a very dynamic product in today’s publishing world. Updated fairy tales are the most common type: many Little Red Riding Hoods or Pusses in Boots are now walking through cities, meeting wolves who drive cars or ogres running industrial empires. Though parodies may be amusing, fun is not their only function. Intercrossing the urban imaginary with the fairy-tale means putting two referential universes face to face, each one gauging the other: traditional plots, inherited from classic tales, are twisted and corrected to fit new ideologies, and meanwhile the wonderland judges reality, with its concrete, its traffic, and its capitalist logic, so that in the end, it is the city which is reborn of the fairy tale experience. But the phenomenon should be replaced within the history of the genre. Thanks to recent academic studies, we can re-contextualize the emergence of the fairy tale in the European literary stage, and we have to note that updating fairy tales is not a contemporary practice, but could indeed be a generic characteristic. Perrault, already, by the scenography of the old maid telling tales to young kids, offered his urban public falsely naive stories, inviting them to look above the illusion of fiction, in order to find the “Morale trés-sensée”, the very wise moral. Therefore, because of their intrinsically polyphonic nature, fairy tales exist less within a logic of transmission than within a logic of conversation between generations, and for that they should be considered myths of modernity

Piliers du patrimoine, ancrés dans l'inconscient collectif, les contes auxquels Perrault a donné forme écrite il y a trois siècles ont essaimé dans toutes les formes de la représentation, et occupent une place privilégiée dans la littérature de jeunesse contemporaine, parfois intacts, mais le plus souvent transformés, déformés par le détournement. Pour tenter de cerner et d'apprécier les causes, l'ampleur et les effets de ce phénomène, il convient de l'approcher au fil de trois entrées successives. Revenir tout d'abord à l'oeuvre source afin d'interroger les raisons de sa fortune. Puis, observer, selon la formule d'Umberto Eco, la " migration " des personnages et des motifs de ces contes dans le champ où ils se multiplient, afin de proposer un classement des rééditions, des adaptations et des variations hypertextuelles. Enfin, s'attacher au destinataire de ces réécritures : l'enfant d'âge scolaire. Nous postulons, en effet, que les contes détournés se prêtent tout particulièrement, et très tôt, à la lecture littéraire, grâce à la mise en relation attendue pour identifier leur source et à la comparaison entre texte premier et texte second, tant sur le plan axiologique que structurel. En somme, de Perrault à nos jours, du conte source au conte détourné, de la production à la réception, il s'agit de suivre le parcours d'une œuvre incontournable de notre littérature, d'embrasser la somme de ses avatars dans la production contemporaine pour la jeunesse, et d'analyser la lecture de quelques-uns d'entre eux par les enfants en ce début de vingt et unième siècle
Pillars of the patrimony, rooted in the collective unconscious, the tales to which Perrault gave a written form three centuries ago have swarmed into all possible forms of expression, and found a privileged space in contemporary children's literature – at times complete, usually altered, diverted and distorted. In order to define and assess its causes, its scope and effects, this phenomenon must be approached from three successive angles. First, one must revert to the original work to question the reasons of its fortune. Then, according to the word of Umberto Eco, examine the " migration " of the characters and patterns of the tales to the sphere where they multiply, to suggest a classification of the re-issues, the adaptations and the hypertextual variations. Last, one has to pay particular attention to the school-child to whom they are directed. Indeed we postulate that tales, when distorted, are particularly suited to literary reading, and very early in the child's life, thanks to a close relationship with the original tales, allowing an identification of their source, and a comparison between primary and secondary text, on the axiological plan as well as on structural one. In short, from Perrault to the present time, from the original tale to the deviated tale, from its production to its reception, it is a question of following the course of a major literary work, of spanning all its transformations in contemporary books for the young, and studying how, in these first years of this new century, children read them

Alors que les contes de fées cherchent désormais à émanciper leurs héroïnes du carcan des genres, le maternel se distingue par son immuabilité, prisonnier de dyades manichéennes et d’intrigues monosémiques comme Blanche-Neige de son cercueil. Cette thèse propose donc une relecture contemporaine du rôle de la belle-mère, centrée sur son rapport ambivalent à la maternité. La résistance de cette figure à toute subversion révèle en effet un enracinement profond de la violence matrilinéaire dans le genre : l’ubiquité de cette mauvaise mère – qui emprisonne et empoisonne – est symbolique d’un maternel en tension, où l’intrigue mère/fille ne peut qu’être tragique. La coexistence narrative de cette dyade est ainsi rendue impossible par l’indifférenciation des corps et sujets féminins imposée par le canon patriarcal, toute existence du Soi impliquant nécessairement un évincement de l’Autre. Dès lors, les rapports matrilinéaires se trouvent compliqués par l’apparition de dynamiques destructrices dans la diégèse : la marâtre désire ingérer – et ainsi (ré)absorber – le corps de la fille ; celle-ci réagit en adoptant une attitude matrophobe. C’est alors que réapparaît la mère originelle, qui se place en double inversé de la marâtre, permettant ainsi le clivage des figures maternelles. Le reflet de cette autre-mère inquiète et aliène la marâtre, pour qui l’absence de lien biologique avec l'héroïne est preuve de son infériorité. C’est cependant par le prisme de cette non-filiation qu’une subversion de la tragédie matrilinéaire est possible, l’hybridité du rôle de la belle-mère permettant la création d’alternatives protéiformes, ambivalentes et inclusives à l’intrigue matrilinéaire
While fairy-tales now strive to emancipate their heroines from the constraints of gender and genre, the maternal remains strikingly immutable, confined by Manichean dyads and monosemic plots like Snow White by her coffin. Therefore, this thesis proposes a contemporary interpretation of the wicked stepmother’s role through the prism of her ambivalent relationship to the maternal. The resistance of this figure to subversion attempts reveals a profound anchoring of matrilineal violence within the genre: the ubiquity of this cruel mother—who poisons and imprisons—is indeed evidence of a tension-laden institution where the mother/daughter plot can only ever be tragic. The diegetic coexistence of this dyad is rendered impossible by the lack of borders between female bodies and subjects within the patriarchal canon, any existence of a Self inevitably requiring the erasure of the Other. Matrilineal relations are further complicated by the emergence of destructive dynamics within the diegesis: the stepmother wishes to ingest—and thus (re)absorb—the daughter’s body, and the latter reacts by assuming a matrophobic attitude. It is then that the biological mother reappears, functioning as the stepmother’s inverted double and implementing the splitting of maternal figures. The reflection of this other-mother unsettles and alienates the stepmother, for whom the absence of biological bond with the heroine is evidence of her utter inferiority. However, it is also through the prism of non-filiation that a subversion of the mother/daughter tragedy becomes possible, the hybridity of the stepmother allowing the creation of protean, ambivalent and inclusive alternatives to the maternal plot

Le présent travail propose une remise en lumière de l’écrivaine Concha Alós (19222011) et une réévaluation de sa production. Écrivaine révélée sous le Franquisme, elle a joui d’une reconnaissance médiatico-culturelle importante dans les années 1960 et 1970, mais souffre aujourd’hui d’une indifférence presque généralisée. Cette thèse s’attache à étudier exhaustivement, pour la première fois, le parcours personnel et professionnel de Concha Alós et, de manière plus affinée, son œuvre esthétique. À partir de l’examen d’une somme de documents (publiés, édités, inédits, etc.) et d’archives privées, ce travail recompose la trajectoire d’une écrivaine dans une Espagne bridée par la dictature. Il s'évertue à la positionner parmi ses contemporains, à déterminer les raisons de son oubli et analyse ses productions, tant narratives que journalistiques et scénaristiques. Notre étude vise à actualiser la connaissance d’une femme engagée, dont la plume tranchante, le style direct et les thèmes percutants méritent, aujourd’hui, une réhabilitation
This thesis aims at placing the writer Concha Alós (1922-2011) in the limelight again and at reevaluating her production. As a writer revealed under Franco’s regime, she received an important media and cultural recognition in the 60s and 70s but suffers today from an almost general indifference. The purpose of this PhD dissertation is to provide – for the first time – a comprehensive study of Concha Alós’s personal and professional path and, in a more fine-grained way, her aesthetic work. After a careful review of a large number of documents (published or not, edited, etc.) and private archives, I retrace the trajectory of a Spanish woman writer in a country shackled by dictatorship, position her amongst her contemporaries, determine the reasons for her oblivion and analyze her productions which appear under the form of narratives, newspaper articles and scenarios. The study’s aim is to update our knowledge of a committed woman, whose caustic pen, direct style and powerful themes today deserve to be rehabilitated

For the creative writing part of my Master's Thesis, I adapted two short stories into short films. My first screenplay is a free reverie based on Mavis Gallant's "Wedding Ring", a highly blurred and elliptic story. I then chose to work on "Careful", a text by Raymond Carver. Carver's writing is very concise and detail oriented. In itself, it is already almost cinematographic. The external gestures, the outside world express the character's interiority and existential uneasiness. This kind of writing calls for a different approach to adaptation. One that is, in the case of my personal work, much closer to the original text.
My creative writing enterprise raises a certain number of questions regarding the essence of the adaptation process. How should one consider a text when adapting it? Should one stay close to the original, or choose to move away from it, at the risk of betrayal? To what extent can one impose one's own vision, voice, words upon somebody else's work? My critical essay will explore the particular position of the person adapting original texts for cinema.
I will focus more specifically on the case of French author, Eric Rohmer, who rewrote some of his own literary work for cinema Unsatisfied with the written form of his Six Contes moraux short stories, Rohmer felt the need to adapt them to the screen. In the preface to his collection of stories, published in 1974, Rohmer speaks of his relationship to literature and cinema. He thus sets the ground for a vast reflection on the different creative possibilities offered by these mediums. The critical section of my Master's thesis will explore what is at stake in this process of rewriting the Six contes moraux from the literary to the cinematographic form.

Le tresor des contes d'henri pourrat represente dans la litterature francaise une somme unique par son ampleur : ses treize volumes, publies de 1948 a 1962, rassemblent pres d'un millier de contes. La collecte ethnographique, effectuee par henri pourrat en pays livradois durant pres d'un demi-siecle, a permis de reunir une documentation immense et jusqu'a ce jour inedite. Celle-ci donne des informations precieuses sur le repertoire des conteurs et sur les institutions de transfert de la societe rurale traditionnelle. Mais henri pourrat, refusant la fidelite litterale exigee par les ethnographes, souligne la necessite d'une adaptation et reclame pour lui-meme la liberte du conteur populaire. Quel usage l'ecrivain-conteur fait-il de cette liberte ? l'etude ethno-litteraire des motifs juges pertinents permet de mieux cerner la conception qu'henri pourrat se fait de la fidelite a la matiere populaire. Ce peuple dont le visage se derobe toujours est le support d'une vision mythique dont l'origine doit etre recherchee dans l'equation personnelle de l'auteur. La these s'attache donc a retrouver en une lecture archeologique l'inscription en creux de gestes disparus lies tout autant a la memoire collective qu'au cheminement de celui qui veut s'en faire l'interprete
The tresor des contes by henri pourrat represents a unique collection by its size alone : its thirteen volumes, published between 1948 and 1962, contain more than a thousand tales. The rich ethnographic collection of tales assembled by henri pourrat in the livradois region over very nearly half a century, produced a huge body of work which has remained unpublished until the present time. Pourrat's life-long work provides an indispensable inside into the storytellers' repertory as well as into the localities where the oral tradition reigned. But henri pourrat, refusing the litteral transcription required by ethnologists, insists on the necessity of an adaptation of the oral sources and thereby bestows upon himself the freedom a folkstoryteller. What use will the writer make of this freedom ? the study of the pertinent patterns allows us an understanding of pourrat's conception of fidelity. The people in this universe must be reinvented through a process whose origin can only be found in the biographic material. The strategy of the thesis is to establish by an archeological reading the hidden writting of those absent and long-gone gestures bound to the collective memory as well as to the means by which the writer recreates them

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work focuses on the changeover process from printed short story to TV broadcast, based on the TV series Contos da Meia Noite [CMN], produced and broadcasted by TV Cultura a Padre Anchieta Foundation s network. Starting with the short story concept and gathering information from the series first year, the final result is 89 episodes. The goal of this series is to understand the CMN specifications used in the content analysis, specifically: the introduction text, a short story, and the final credits, in a 10 episodes sample. Included is an interview with Fernando Martins, creator of the TV series. This new changeover proposal can be considered as a TV broadcast possibility of keeping both the short narrative s authorship and the printed book style.(AU)
Este trabalho enfoca o processo de transmutação do conto literário para a televisão, utilizando a série Contos da Meia Noite [CMN], produzida e exibida pela TV Cultura de São Paulo uma emissora da Fundação Padre Anchieta. Inicialmente, busca-se conceituar a noção de Conto, e em seguida, faz-se um levantamento da veiculação do primeiro ano da série, o que totaliza o corpus de 89 programas. O objetivo deste trabalho é o de compreender a especificidade dos CMN enquanto uma proposta de transmutação do literário para o televisivo. Para isso é adotado, além de uma entrevista semi-estruturada com Fernando Martins - um dos realizadores da série o procedimento de análise de conteúdo, que detalha: o texto de abertura, a oralização e os créditos finais de uma amostra formada por 10 programas. Com isso, pode-se considerar nesta nova proposta de transmutação a possibilidade televisiva de manter a autoria da narrativa curta e seu estilo original estabelecido pelo suporte livro.(AU)

A l’avenir, l'agriculture et l'environnement vont pouvoir bénéficier de plus en plus de données hétérogènes collectées par des réseaux de capteurs sans fil (RCSF). Ces données alimentent généralement des outils d’aide à la décision (OAD). Dans cette thèse, nous nous intéressons spécifiquement aux systèmes sensibles et adaptatifs au contexte basés sur un RCSF et un OAD, dédiés au suivi de phénomènes naturels. Nous proposons ainsi une formalisation pour la conception et la mise en œuvre de ces systèmes. Le contexte considéré se compose de données issues du phénomène étudié mais également des capteurs sans fil (leur niveau d’énergie par exemple). Par l’utilisation des ontologies et de techniques de raisonnement, nous visons à maintenir le niveau de qualité de service (QdS) des données collectées (en accord avec le phénomène étudié) tant en préservant le fonctionnement du RCSF. Pour illustrer notre proposition, un cas d'utilisation complexe, l'étude des inondations dans un bassin hydrographique, est considéré. Cette thèse a produit un logiciel de simulation de ces systèmes qui intègre un système de simulation multi-agents (JADE) avec un moteur d’inférence à base de règles (Jess)
In the future, agriculture and environment will rely on more and more heterogeneous data collected by wireless sensor networks (WSN). These data are generally used in decision support systems (DSS). In this dissertation, we focus on adaptive context-aware systems based on WSN and DSS, dedicated to the monitoring of natural phenomena. Thus, a formalization for the design and the deployment of these kinds of systems is proposed. The considered context is established using the data from the studied phenomenon but also from the wireless sensors (e.g., their energy level). By the use of ontologies and reasoning techniques, we aim to maintain the required quality of service (QoS) level of the collected data (according to the studied phenomenon) while preserving the resources of the WSN. To illustrate our proposal, a complex use case, the study of floods in a watershed, is described. During this PhD thesis, a simulator for context-aware systems which integrates a multi-agent system (JADE) and a rule engine (Jess) has been developed.Keywords: ontologies, rule-based inferences, formalization, heterogeneous data, sensors data streams integration, WSN, limited resources, DSS, adaptive context-aware systems, QoS, agriculture, environment

Esta dissertação possui como temática a literatura infantil que circula na escola, especialmente, analisando edições populares adaptadas de contos de fadas. Dentre as coleções encontradas nos acervos investigados em duas escolas municipais – educação infantil e ensino fundamental - de um município da região metropolitana de Porto Alegre/RS, destacou-se a presença de determinadas séries com publicações de textos adaptados muito sucintos e com pouco cuidado editorial, preferencialmente, de “contos de fadas”, ao lado dos acervos oficiais distribuídos às escolas pelo Ministério de Educação (PNBE, PNLD, PNAIC). A partir desta constatação, meu objetivo, nesta dissertação, foi o de analisar criticamente adaptações de textos considerados “clássicos da literatura infantil”, encontrados nas escolas, realizando um cotejo com os "originais" [ou versões mais conhecidas], identificando as modificações e verificando, de maneira geral, os critérios que presidiram suas modificações. Considerando que estas coleções integram o circuito pedagógico nas instituições, realizei uma análise das adaptações de dez clássicos: “O Patinho Feio”, “João e o Pé de Feijão”, “Branca de Neve”, “A Bela e a Fera”, “A Bela Adormecida”, “Cinderela”, “Chapeuzinho Vermelho”, “João e Maria”, “Os Três Porquinhos” e “O Pequeno Polegar”, tomando como referência alguns estudos sobre contos de fadas e sobre adaptação (CADEMARTORI, CECCANTINI, HUTCHEON, CARVALHO, SHAVIT, entre outros). A análise das edições adaptadas, considerando tanto o projeto gráfico dos livros quanto as permanências e modificações dos textos, em relação às obras mais tradicionais, nos permitiu evidenciar o limitado potencial literário destas obras, uma vez que não privilegiam a riqueza das narrativas originais, tampouco sustentam a recepção destas histórias pelo leitor. Tornou-se evidente que a publicação de adaptações constitui uma estratégia do mercado editorial para o largo consumo de livros que possam “ensinar algo” para as crianças. Neste sentido, a investigação é produtiva, à medida que coloca em xeque o conceito de “literatura infantil” ou “livros para crianças” no circuito escolar.
This paper focuses on children’s literature in the school, particularly analysing popular issues of fairytales. Among works found in collections investigated in two municipal children’s and primary schools in the city of Porto Alegre (RS), the presence of particular series published from very brief and poorly edited texts, especially, about ‘fairytales’, as well as official collections the Ministry of Education (PNBE, PNLD, PNAIC) distributed to schools. Thus my aim was to analyse critically adaptations of texts considered as ‘children’s literature classics’ found in schools, by comparing them with ‘originals’ (or more popular versions), identifying changes and generally verifying criteria for such changes. Considering that these collections follow pedagogical paths in institutions, I make an analysis of adaptations from ten classics: The Ugly Duckling, Jack and the Beanstalk, Snow White, Beauty and the Beast, Sleeping Beauty, Cinderella, Little Red Riding Hood, Hansel and Gretel, The Three Little Pigs, and Tom Thumb. Here we have drawn to some studies about fairytales and adaptations such as Cademartori, Ceccantini, Hutcheon, Carvalho, Shavit, among others. Analysing these adapted works, by considering both books’ graphic part and attachment or change of traditional, allow us to show that these works have limited literary potential, once they do not favour the richness of the original narratives nor sustain the readers’ reception of these stories, which shows that publication of adaptations constitutes a strategy of the publishing market for the large consumption of books that may ‘teach something’ for children. In this perspective, the investigation is useful as it challenges the concept of ‘children’s literature’ or ‘children’s books’.

This thesis advanced understanding of the timing, spatial and adaptation properties of the human pupil light reflex (PLR). It developed new functional measures of the eye's melanopsin cells, which regulate circadian rhythms and pupil size, and are dysfunctional in a range of common eye and brain disorders. Measuring the PLR under different light stimulations, this research determined that melanopsin inputs to the pupil are independent of stimulus timing, but are sensitive to both stimulus spatial location and adaptation level. The outcomes introduce new frameworks for translating these objective biomarkers of melanopsin function into clinical tools for diagnosing and monitoring disease.

Context-aware computing has been attracting growing attention in recent years. Generally, there are several ways for a context-aware system to select a course of action for a particular change of context. One way is for the system developers to encompass all possible context changes in the domain knowledge. Other methods include system inferences and adaptive learning whereby the system executes one action and evaluates the outcome and self-adapts/self-learns based on that. However, in situations where a system encounters unknown contexts, the iterative approach would become unfeasible when the size of the action space increases. Providing efficient solutions to this problem has been the main goal of this research project. Based on the developed abstract model, the designed methodology replaces the single action implementation and evaluation by multiple actions implemented and evaluated concurrently. This parallel evaluation of actions speeds up significantly the evolution time taken to select the best action suited to unknown context compared to the iterative approach. The designed and implemented framework efficiently carries out concurrent multi-action evaluation when an unknown context is encountered and finds the best course of action. Two concrete implementations of the framework were carried out demonstrating the usability and adaptability of the framework across multiple domains. The first implementation was in the domain of database performance tuning. The concrete implementation of the framework demonstrated the ability of concurrent multi-action evaluation technique to performance tune a database when performance is regressed for an unknown reason. The second implementation demonstrated the ability of the framework to correctly determine the threshold price to be used in a name-your-own-price channel when an unknown context is encountered. In conclusion the research introduced a new paradigm of a self-adaptation technique for context-aware application. Among the existing body of work, the concurrent multi-action evaluation is classified under the abstract concept of experiment-based self-adaptation techniques.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
Introduction: the PAJ inventory study the path of young love, from the perspective of analyzing the relationship between violent events and relationships with family, friends and lovers. This th?me has mobilized researchers in different social contexts, regions and countries, considering the violence`s impact. Researchers in this area requires the use of validated instruments, with multidimensional approach, regardless of source context, based on the experience of literature. Objective: submit the inventory PAJ "Parcour Amoreux des Jeunes" to the cross-cultural adaptation and validation of content. Methodology: protocol steps recommended were the ones that follow: (1) translation and back-translation - translation and back-translation - the translation was attended by two Brazilian researchers , skilled in French , and later , two young native Canadian researchers fluent in Portuguese, ending Pilot II version . (2) Analisys by the Expert Committee - ten professionals from different backgrounds participated (researchers in validation , adolescence and violence) , who analyzed individually , the clarity and equivalence for each question according to the characteristics of clarity (1) It is not clear , (2) It is a little unclear , (3) almost everything is clear , (4) it is clear and I have no doubt , and equivalence : (1) not equivalent , (2) Partially equivalent; " (3) equivalent . After analysis , the percentages of clarity and equivalence and Content Validity Index / general question for IVC were calculated, obtaining Pilot III version , (3) Pre -test - Pilot III was assessed by a sample of 36 young people , 14-24 years old, both genders , with the same characteristics as the target of the later stages (psychometric analysis and application to the target population) population. In the pre -test interpretive questions were analyzed , in order to obtain cultural, conceptual, semantic and idiomatic equivalence, improving, thus, the instrument comprehension. After analysis of experts and young people , proportions relative to clarity and equivalence and Content Validity Index ( CVI ) were calculated , considering as appropriate issues with grades 3 and 4 for clarity, with value above 0.78 , according literature recommendations. Results: in general, the inventory PAJ had adequate content validity (0.97), considering the recommended limit value for adequacy (0.78). All sections of the instrument showed good performance (adequacy to clarity and equivalence), except the first section (general information, sociodemographic questions the cultural context of young parents' ethnicity, education, language spoken, among others) whose items and issues experienced cross-cultural adaptation and adjustment to match the Brazilian reality. Conclusions: PAJ showed suitable validity of content. The stages of cultural adaptation, and validation of content of instrument becomes appropriate for the procedures that follow - steps of reliability assessment (psychometrics) and applicability to the youth population in the brazilian context.
Introdu??o: o invent?rio PAJ busca estudar o percurso amoroso de jovens, na perspectiva de analisar a rela??o entre os eventos violentos e relacionamentos com familiares, amigos e amores. Esse tema tem mobilizado estudiosos, nos distintos contextos sociais, regi?es e pa?ses, considerando o impacto da viol?ncia Pesquisar nesta ?rea requer a utiliza??o de instrumentos validados, com abordagem multidimensional, independente do contexto de origem, tendo como base a experi?ncia da literatura. Objetivo: submeter o invent?rio PAJ ?Parcours Amourex des Jeunes?, ? adapta??o transcultural e ? valida??o de conte?do, para utiliza??o em contexto nacional. Metodologia: foram obedecidas etapas protocolares recomendadas: : (1) Tradu??o e Retrotradu??o ? para tradu??o participaram dois pesquisadores brasileiros, habilitados na lingua francesa, obtendo duas vers?es em protugu?s; na retradu??o, dois novos pesquisadores nativos do Canad? com flu?ncia no portugu?s, finalizando vers?o Piloto II. (2) An?lise por Comit? de Especialistas ? participaram dez profissionais de diferentes forma??es, pesquisadores nas ?reas de (valida??o, adolesc?ncia e viol?ncia), os quais analisaram, individualmente, o grau de clareza e de equival?ncia para cada quest?o, segundo as caracter?sticas de clareza (1) N?o est? claro; (2) Est? um pouco claro; (3) Est? quase tudo claro; (4) Est? claro e n?o tenho d?vidas; e de equival?ncia: (1) N?o equivalente; (2) Pouco equivalente; ?(3) Equivalente. Ap?s an?lise, foram calculadas as porcentagens de clareza e de equival?ncia e o Indice de Validade de Conte?do/IVC geral por quest?o, obtendo-se vers?o Piloto III; (3) Pr?-teste ? o Piloto III foi avaliado por uma amostra de 36 jovens, de 14 a 24 anos, ambos os sexos, com as mesmas caracter?sticas da popula??o alvo das etapas posteriores (an?lise psicom?trica e aplicabilidade na popula??o alvo). No pr?-teste foram analisadas quest?es de ordem interpretativa, visando obter equival?ncias cultural, conceitual, sem?ntica, idiom?tica, na perspectiva de aprimorar a compreens?o do instrumento. Ap?s an?lise dos especialistas e dos jovens, foram calculadas propor??es relativas ao grau de clareza e equival?ncia e o ?ndice de Validade de Conte?do (IVC), considerando como adequadas quest?es com graus 3 e 4, para clareza, com valor acima de 0,78, segundo recomenda??es da literatura. Resultados: de maneira geral, o invent?rio PAJ apresentou adequada validade de conte?do (0,97), considerando o valor limite para adequa??o recomendado (0,78).Todas as se??es do instrumento apresentaram bom desempenho (adequa??o para clareza e equival?ncia), exceto a primeira se??o (informa??es gerais, quest?es sociodemogr?ficas do contexto cultural do jovem, etnia dos pais, escolaridade, l?ngua mais falada, entre outros aspectos) cujos itens e quest?es sofreram a adapta??o transcultural e adequa??o para corresponder ? realidade brasileira. Conclus?es: o PAJ mostrou adequada validade de conte?do. Os est?gios de adapta??o cultural e valida??o de conte?do torna o instrumento apropriado para os procedimentos que se seguem - medidas de avalia??o da confiabilidade (psicometria) e aplicabilidade para a popula??o jovem no contexto brasileiro.

The extensive growth in smartphone and tablet market has led to a continu-ous increase in mobile video traffic, which has urged mobile network operators (MNOs) to redesign their networks and search for cost-effective solutions to bring content closer to the end user. This enables support for more simultaneous video streams, while maintaining stringent delay bounds. However, with adaptive bit rate streaming (ABS) which provides multiple source video bit rates for a single video to meet the heterogeneity of user devices and network conditions, caching all rate variants significantly increases backhaul and storage requirements. There-fore, having cached the highest quality of video contents, this thesis proposes two methodologies to perform in-network video adaptation: (1) a perceptual quality-aware video adaptation scheme that encodes video sequences at a target bit rate;(2) a quality of experience (QoE)-aware video adaptation technique which drops packets from scalable video streams to produce lower bit-rate versions under QoE and delay constraints. These adaptation schemes then allocate resources to meet the delay limitation of the lower rate streams for power-efficient streaming over downlink OFDMA systems. Alternatively, instead of transrating reactively cached contents, operators can implement intelligent caching in their networks. Predictable user demands can then be proactively served from content caches deployed at mobile gateways in the vicinity of users. Therefore, this thesis also evaluates the potential benefits from in-network caching of scalable videos and finds the trade-off between the potential savings from- and infrastructural costs of in-network caching. In light of the increasing trend in virtualization of network functions, a cost-effective Caching-as-a-Service (CaaS) framework for virtual video caching in 5G mobile networks is proposed in this study. In order to evaluate the pros and cons of this CaaS approach, a virtual caching problem is formulated in order to maximize return on caching investment by finding the best trade-off between the cost of cache storage and bandwidth savings from caching video contents in the MNO’s cloud.

Le présent mémoire analysera la version orale d’Il faut prendre le taureau par les contes ! de Fred Pellerin sous forme auditive et son adaptation en conte littéraire. L’étude des deux actualisations médiatiques se fera en trois temps qui correspondent aux moments significatifs de la performance du conte tels que définis par la théoricienne Jeanne Demers. Le premier moment est la formation du cercle du conte et représente un espace instauré hors du réel qui offre aux spectateurs ou aux lecteurs la possibilité d’adhérer sans retenue aux événements exposés dans le récit grâce à l’ouverture, la fermeture et le maintien du cercle. Le deuxième moment du conte se produit quand le conteur crée et consolide un lien de connivence avec son public, ce qui capte son attention en le liant au contenu. Pour ce faire, Pellerin cherche à répondre aux attentes de son public, à jouer avec la frontière entre vérité et fiction et à provoquer des réactions. Le troisième et dernier moment du conte, c’est le showing, qui rapproche d’abord l’auditoire ou le lecteur de l’action et l’action de ceux-ci, et ensuite qui permet au conte de se matérialiser grâce à leur imagination. À ce moment-là, le but du conte est atteint, car le plaisir de l’auditoire ou du lecteur est indéniable. Cette recherche tente de voir le corpus comme un tout malgré les différents moyens mis en œuvre : la mise à l’écrit fait bénéficier le spectacle originel de nouvelles significations et permet, à ceux qui en profitent, de vivre une expérience différente, mais tout aussi réussie.
This dissertation will analyse the oral tale of Il faut prendre le taureau par les contes ! by Fred Pellerin and the written tale adaptation. The study of both versions will be demonstrated using three instances that correspond to significant moments of the tale’s performance according to theoretician Jeanne Demers. The first moment is the formation of the "circle of the tale" which represents a space established beyond reality that allows the audience or the reader to adhere without restraint to the events exposed in the story due to the opening, the closing and the conservation of the circle. The second moment of the tale occurs when the storyteller creates and consolidates a complicit link with his audience which attracts and holds their attention by linking them to the story. To achieve this effect, Pellerin tries to answer his public’s expectations, manipulates the border between fiction and reality and provokes reactions. The third and final moment of the tale is the "showing", which initially helps to bring the audience or the reader closer to the action and the action closer to them, then to allow the tale to materialize with the aid of their imagination. At which point, the tale reaches its ultimate goal, as the pleasure of the audience or the reader is infallible. This research aims to see Pellerin’s work as a whole despite the different means: putting the oral tale in writing benefits the original show as it brings forth, to those who experience it, new meaning and offers a different perspective, which is every bit as successful.

Le présent mémoire de recherche-création a pour objet les réécritures théâtrales des contes. Si le conte merveilleux et le théâtre sont a priori deux genres littéraires distincts de par leur origine, leur nature et leur mode d’expression, ils présentent néanmoins des points communs qui facilitent la transgression des frontières génériques. Aussi les dramaturges se sont-ils parfois risqués à proposer des adaptations de contes merveilleux pour le théâtre. C’est par exemple le cas de Joël Pommerat, qui a récemment proposé des transpositions scéniques de trois contes traditionnels, revisitant et actualisant thèmes et personnages. Dans cet essai, je m’intéresse tout d’abord aux éléments qui favorisent la réécriture théâtrale des contes. Je m’interroge ensuite sur la manière dont Pommerat, qui fonde sa réflexion sur les apports de la philosophie, de la sociologie et de la psychanalyse, prépare ses spectacles ; ce que j’illustre en mettant en lumière la méditation menée par l’auteur sur le travail du deuil dans son spectacle Cendrillon. À l’instar de Pommerat, je présente enfin une étude psychanalytique des personnages du conte Blanche-Neige des frères Grimm. La création que je propose consiste en une transposition théâtrale du conte Blanche-Neige des frères Grimm, qui déplace situations et personnages dans le monde contemporain de l’entreprise.
The purpose of this research-creation master thesis is to rewrite the theatrical aspects of the fairy tales. While storytelling and theatre are a priori two literary genres distinct in origin, nature and mode of expression, they nevertheless share common qualities that facilitate the transgression of generic boundaries. So playwrights have sometimes ventured to offer adaptations of fairy tales for the theatre. This is the case, for example, of Joël Pommerat, who recently proposed scenic transpositions of three traditional fairy tales, revisiting and updating themes and characters. In this essay, I am first interested in the elements that promote the theatrical rewriting of fairy tales. I then ask myself how Pommerat, who bases his reflection on the contributions of philosophy, sociology and psychoanalysis, prepares his shows ; what I illustrate by highlighting the author's reflections on the work of mourning in his play Cinderella. Like Pommerat, I finally present a psychoanalytical study of the characters in the Grimm brothers' Snow White tale. The creation I propose consists of a theatrical transposition of the Grimm brothers' Snow White tale, which moves situations and characters into the contemporary world of business.

Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidad Aberta
Na presente dissertação, elegemos como temática de investigação a adaptação literária enquanto modalidade da literatura infanto-juvenil, e fazemos a sua abordagem em três vertentes complementares: a de um conceito com história, a da análise textual e a investigação de campo. Primeiro, exploramos o conceito de adaptação enquanto modalidade que procura resolver a assimetria existente entre um texto de origem (emitido por um adulto para um público também adulto) e um receptor infanto-juvenil, com natural expressão ao nível da intencionalidade comunicativa. Depois, traçamos o seu percurso na História da Literatura infanto-juvenil em Portugal, observando que a tónica no receptor parece estar relacionada com o surgimento do próprio género. Segundo, identificamos os procedimentos adaptativos paratextuais e os intra-textuais de simplificação e redução de extensão mais comuns numa adaptação infanto-juvenil (substituições, transformações, resumos), embora adstritos ao corpus seleccionado para investigação: a obra Seis Contos de Eça de Queirós, recontados por Luísa Ducla Soares. Reflectimos ainda sobre as políticas editoriais e educativas que subjazem à realização de adaptações de obras consideradas de referência. Por último, analisamos a forma como a adaptação pode concorrer para a motivação e formação de leitores infanto-juvenis, sob a perspectiva da recepção do texto, com base numa investigação de campo sobre a leitura do corpus seleccionado, que incidiu sobre um grupo de alunos de sétimo ano de escolaridade.
In this dissertation we have chosen the theme of literary adaptation as a modality of children‘s literature, and we have approached it in three complementary strands: definition of concepts and history, text analysis and action-research. Firstly, we explore the concept of adaptation as a way of dealing with the asymmetry between a source text (written by and for an adult) and its reception by children and youngsters, with natural reflection on the communicative intents. Then, we settle the route of adaptation in the history of children‘s literature in Portugal, recognizing that the emphasis on the young public may be related with the emergence of the children‘s literature gender itself. Secondly, we identify the more common para-text and intra-text adaptation procedures of simplification and reduction of length (by replacing, transforming, summarizing). We analyze these procedures using a selected corpus - Seis Contos de Eça de Queirós, from Ducla Soares. We also consider how educational and editorial policies can determine and benefit from adapting a canon. Last, we analyze how an adaptation can contribute to the motivation and development of new juvenile readers, supported by the Literary Reception Theories. This study relies on a reading experience of the selected corpus by a seventh form class audience.