Dissertations / Theses on the topic 'Jean'

Cette thèse regroupe la biographie du peintre Jean Piaubert (1900-2002), la présentation de l’œuvre, le catalogue raisonné des ses œuvres abstraites (peintures et dessins), ainsi qu’un ensemble de documents annexes
This thesis gathers the biography of the painter Jean Piaubert (1900-2002) and the catalogue raisonné of his abstract painting and drawings

Le premier chapitre traite de la mise au point d'une méthode de synthèse en un seul pot d'arylcycloalcènes. Cette méthode consiste en l'addition d'organocériens sur des cétones cycliques pour conduire à la formation d'alcoolates intermédiaires qui sont ensuite mis en présence d'agents de sulfonation pour subir une β-élimination par différentes bases. Une fois les conditions opératoires mise au point et appliquées à différents substrats, cette méthode est mise en oeuvre pour l'obtention d’un sesquiterpène d'origine naturelle : le (±)-Laurokamurène B. Le deuxième chapitre est consacré à la mise au point et à l'optimisation d'une voie de synthèse permettant d'accéder aux 2-cycloalcènylbenzaldéhydes à 5, 6 et 7 chaînons. Ces aldéhydes sont ensuite mis en présence d'acides aminés et leurs dérivés permettant d'accéder à des benzazépines de manière efficace et rapide par réaction d'électrocyclisation-1,7 d'ylures d'azométhines. Le troisième chapitre décrit trois stratégies vers la synthèse totale de la morphine mettant en oeuvre une réaction clé de cyclisation intramoléculaire acidocatalysée observée lors de la synthèse des 2-cycloalcénylbenzaldéhydes décrite dans le deuxième chapitre
The first chapter treats about the elaboration of a new methodology for the synthesis of arylcycloalkenes according to a one pot procedure. This methodology consist in the addition of organocerium compounds on cyclic ketones to lead to the formation of intermediate alcoholates which will lead to arylcycloalkene by elimination conditions. After the experiment conditions are defined and applied to the synthesis of different compounds, this methodology is used for the synthesis of (±)-Laurokamurene B, a natural sesquiterpene. The second chapter is spared to the elaboration of a new way of synthesis of 2- cycloalkenylbenzaldehyde with 5, 6 or 7. Those aldehydes lead to benzazepine through 1,7-electrocyclisation of azomethine ylides when heated with amino acids and their derivatives. The Third Chapter describe essays to the total synthesis of racemic Morphine using a side reaction previously observed during the second chapter

14 pp.
"Jean Jems" is a simple sewing project guide for 4-H youth. All projects utilized recycled blue jeans to allow youth to learn sewing skills on inexpensive fabric. Projects advance from very simple to more involved.

The aim of this study is to question the relationality between conception of image, social condition of an era and architecture. With acceptance of a transition to a new kind of relationality in contemporary era, a trialectical analysis is carried on, in order to understand changes in this relationality and its effects on contemporary architecture. Image, mainly depicted as the tool for communication, loses its transcendental and ideal status and degrades to an artificial and tricky state under the contemporary social condition. Likewise, current state of both image and social condition manipulates architecture, architectural production and the position of architect. Therefore, in this study, for understanding the new social condition, it is referred to the world constituted as a system of sign in philosophy of French thinker, Jean Baudrillard which originates from new status of image. For comprehension of contemporary architecture, it is referred to the practice of French architect, Jean Nouvel who features special value to image in his architecture. Finally, for consequences of this collision and effects on architecture, it is referred to the analysis of the book of &ldquo
The Singular Objects of Architecture&rdquo
which is composed of dialogues between Jean Baudrillard and Jean Nouvel.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação.
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A exposição parte de uma análise da obra Emílio ou Da Educação, inserindo-a no contexto histórico iluminista, e lembrando o problema clássico platônico da ensinabilidade da virtude. Nesta primeira parte, fazemos uma breve apresentação geral de conceitos importantes no pensamento de Rousseau, como os de religião civil e religião natural, de homem social e cidadania, além de assinalar alguns aspectos da história do pensamento pedagógico (grego, medieval e moderno) a fim de estabelecer continuidades e descontinuidades com Rousseau. A seguir, após comentarmos a contribuição histórica do Autor para uma nova conceituação da infância, enfatizamos o seu pensamento político, em sua relação com Hobbes e com o projeto iluminista. A segunda parte é dedicada à compreensão do conceito de natureza, fundamental para se entender o sentido da educação em Rousseau. A hipótese de uma natureza humana, boa na sua procedência, serve para compreender a origem do mal e para fundamentar um novo projeto político-pedagógico. Em seguida, procuramos aprofundar a análise da relação entre educação, natureza e sociedade, da importância da experiência e dos sentimentos. Também aqui, procuramos confrontar e compor a contribuição do Autor com a de John Locke e com a do grande admirador Immanuel Kant. A terceira parte inicia com a discussão rousseauniana sobre o conceito de liberdade natural, para sublinhar a educação na constituição da liberdade civil no educando. Em seguida, entrando mais diretamente no tema da formação moral, apresentamos a distinção entre amor-de-si e amor-próprio, importante para se entender a passagem do homem natural ao homem social. Sempre tendo em vista a importância da educação na constituição da liberdade humana, discutem-se posteriormente os conceitos de educação negativa e educação positiva, para salientar aspectos da relação pofessor-aluno e enfatizar a distinção entre ensino-instrução e o processo educativo como tal. Por fim, à guisa dum epílogo, retomando a vincularão, no pensamento de Rousseau, entre a educação e a política, sublinha-se a presença e a aplicabilidade do conceito de liberdade na efetivação do contrato social. Com isso, torna-se mais simples compreender a proposta rousseauniana para a tarefa educativa dos pais, da família e da escola.

Interrogé à propos de son roman "Le Livre des fuites", Le Clézio répondait que c'était "une tentative pour découvrir l'espace [. . . ]". Jean Echenoz dit qu'"il essaie de faire des romans géographiques". L'Analyse de la géographie dans les romans de ces écrivains engage les notions d'instabilité, de fuite, d'errance et de voyage. Les lieux, la topologie et la toponymie sont des éléments fondateurs du récit ; l'avancée de la fiction dépend pour ainsi dire de la progression des personnages dans l'espace. L'écriture de l'espace n'est pas représentative mais génératrice du sens. Par ailleurs, la forme narrative épouse la discontinuité spatiale tant sur le plan textuel que sur le plan générique. La mobilité des personnages, quelle qu'en soit la motivation, introduit dans les lieux spécifiques. L'étude du corpus a permis de dresser une typologie spatiale dominée par le vide et l'ouverture. Les interférences spatiales ainsi que l'ambiguïté qui réside en toile de fond de chaque décor coïncident avec des personnages en crise indentitaire par rapport à leur milieu. Le problème des valences s'impose donc de lui-même. Au défilé spatial, à l'instabilité des protagonistes correspond la représentation mouvante du réel par les nqarrateurs. Les images et les comparaisons chez Le Clézio établissent un réseau d'interférences entre les différents espaces. Les références aquatiques sont une constante de son oeuvre. Chez Echenoz en revanche, une réalité romanesque va se mettre en place, qui obéit à une esthétique d'émiettement et de discontinu. Dans un cas comme dans l'autre, le lecteur est en présence d'un monde poétisé.

La ricerca avviata sul rapporto tra l’Abbé Du Bos e Jean–Jacques Rousseau è rivolta a rintracciare presenze dubosiane (esplicite o implicite) all’interno degli scritti rousseauiani e, secondariamente, a indicare come alcuni temi affrontati da Du Bos nelle sue Réflexions critiques sur la poésie et la peinture (1719) trovino spazio di adesione, problematizzazione, approfondimento, revisione o negazione in Rousseau. I due versanti del lavoro di ricerca sono quindi strettamente legati tra di loro: il secondo nasce dal primo per ‘gemmazione’, ed è decisivo per tentare di individuare il profilo del pensiero estetico di Rousseau. Un primo passo nella ricerca (svolto nei primi due capitoli della tesi) è stato rivolto ad indagare con attenzione l’opera dubosiana, chiarendo e specificando in essa l’uso e il significato del termine “sentimento”, destinato a diffondersi e ad avere grande importanza nell’estetica del Settecento. L’analisi propedeutica delle Réflexions di Du Bos ha permesso di individuare l’alveo tematico entro cui si sviluppa la riflessione di Rousseau, stabilendo il paradigma estetico che emerge nelle opere del ginevrino. Nei successivi quattro capitoli della tesi, la ricerca rintraccia in Rousseau uno statuto estetico, che, muovendo dalle Réflexions di Du Bos, giunge a costituire le basi di un’estetica del sentimento. In vista di tale obiettivo, si è reso necessario spiegare la nozione di “sentimento”, e chiarire il primato della dimensione emotivo-passionale come piano privilegiato su cui fondare i meccanismi di creazione e ricezione del fenomeno artistico. La verifica di tale ipotesi di ricerca ha richiesto un’analisi degli scritti rousseauiani sulla musica, la lingua e il teatro, non trascurando, però, opere apparentemente lontane dalle questioni estetiche (l’Émile e la Nouvelle Héloïse, per esempio), nelle quali invece sono affrontati temi importanti come quelli del genio (sintesi di natura e cultura), del gusto (giudizio proprio del sentire) e del je ne sais quoi (sentimento che sa cogliere l’insolito e l’irrazionale), i quali permettono di evidenziare i confini entro cui è possibile ricostruire le caratteristiche del sapere estetico rousseauiano. L’attenzione del ginevrino si rivolge alla sensibilità (seguendo le orme di Du Bos), per tentare una riconciliazione tra artificio e natura. La distinzione rousseauiana tra natura e art perfectionné rimanda alla differenza tra una sensibilità puramente fisica (fisiologica, si potrebbe dire), che rimanda alla sfera sensibile del singolo individuo, alla sua natura, da una sensibilità morale, cioè il sentimento propriamente detto. La dotazione naturale di tipo sensoriale, potenziale sensibile che ha origine con l’uomo stesso, possa essere ‘assecondata’, coltivata, trovando la sua attuazione e il suo compimento in una sensibilità morale, relazionale, collettiva, espressiva. Il ruolo svolto dalla nozione di sentimento giunge a delineare una teoria estetica basata sull’ espressione. Si evidenzia un vero e proprio mutamento di paradigma estetico nel pensiero e nelle opere di Rousseau: dall’imitazione all’espressione. Se centrale diventa la questione del sentire, di conseguenza assumerà un’importanza notevole e imprescindibile il soggetto fruitore, la natura sensibile dei meccanismi fisiologici e psicologici, emotivi e affettivi. Le pagine di Rousseau che realizzano il modello estetico da lui presentato non sono soltanto quelle in cui discute di teatro o delle potenzialità gestuali e passionali dell’attore, ma anche le pagine in cui Emilio percorre le tappe di una educazione sentimentale, scoprendo nella natura i veri modelli del gusto; quelle in cui Julie si fa promotrice di un’estetica del genio naturale, in cui il bello artistico sia espressione e compimento del bello naturale; o nelle rêveries di un Rousseau che vede la sua esperienza estetica come un processo emotivo e immaginativo, e che immerge il suo io, ormai senza tempo e senza spazio, nel teatro della sensibilità diffusa (e con-fusa) nella natura. Il dialogo tra ragione e passione, nato nelle Réflexions di Du Bos, potrebbe così trovare una prosecuzione (se non un compimento) in Rousseau, i cui scritti sono il teatro in cui va in scena “l’alleanza profonda del potere della riflessione e dello slancio inflessibile delle passioni”.
The research on the relationship between the Abbé Du Bos and Jean-Jacques Rousseau turned to track Du Bos' attendance (expressed or implied) in the Rousseau 's writings and, secondly, to indicate how some of the themes addressed by Du Bos in his Reflexions critiques sur la poésie et la peinture (1719) find space for membership, problematization, analysis, revision or denial in Rousseau. The two sides of the research work are therefore closely linked to each other: the first to the second arises from the ' budding ', and it is crucial for groped to identify the profile of aesthetic thought of Rousseau.    A first step in the research ( done in the first two chapters of the thesis) has been directed to investigate carefully the work dubosiana , clarifying and specifying it in the use and meaning of the term "feeling" , intended to spread and to have great importance in the aesthetics of the eighteenth century . The preliminary analysis of the Reflexions Du Bos has allowed us to identify the channel by which it develops thematic reflection of Rousseau , establishing the aesthetic paradigm that emerges in the works of Geneva . In the next four chapters of the thesis, the research tracks in Rousseau a statute aesthetic , which, starting from Reflexions of Du Bos , comes to form the basis of an aesthetic feeling. In view of this objective, it was necessary to explain the notion of "feeling" , and to clarify the primacy of emotional and passionate size as privileged plane on which to establish the mechanisms of creation and reception of the artistic phenomenon . The verification of this hypothesis, research has required an analysis of the writings rousseauiani about music , language and theater, not neglecting , however, works seemingly far from the aesthetic issues ( the Emile and the Nouvelle Heloise , for example), in which instead are addressed important issues such as the genius (synthesis of nature and culture ) , taste ( 's own judgment of the hearing ) and je ne sais quoi ( feeling that knows how to capture the unusual and irrational ) , which allow you to highlight the boundaries within which it is possible to reconstruct the features of aesthetic knowledge Rousseau .    The focus of the Genevan addresses the sensitivity ( following in the footsteps of Du Bos ) , groped for a reconciliation between nature and artifice . The distinction between nature and art perfectionné Rousseau refers to the difference between a feeling purely physical (physiological , you might say ) , which refers to the sensitive sphere of the individual, to his nature as a moral sensibility , that is the feeling itself. The natural endowment of sensory , potential sensitive which originated with the man himself, can be ' seconded ' , cultivated , finding its implementation and its fulfillment in a moral sensibility , relational and collective expression.    The role played by the notion of feeling comes to delineate an aesthetic theory based on ' expression . It shows a real paradigm shift in thinking and aesthetic in the works of Rousseau : imitation expression. If it becomes the central question of feeling , consequently assume considerable importance and indispensable the individual user , the sensitive nature of the physiological and psychological, emotional and affective .    The pages of Rousseau that realize the aesthetic model presented by him are not only those in which he discusses the potential of theater or gestural and passionate actor , but also the pages where Emilio runs through the stages of a sentimental education , discovering the nature of the true models of taste; those in which Julie is promoting an aesthetic of natural genius , that is the beautiful artistic expression and fulfillment of natural beauty , or in the reveries of a Rousseau who sees his experience as an aesthetic and emotional process imaginative , and plunging his ego , now without time and space , in the theater of widespread awareness ( and con- fused ) in nature.    The dialogue between reason and passion , born in Reflexions of Du Bos, might well find a continuation (if not an accomplishment ) in Rousseau , whose writings are the theater that staged " the alliance of the power of deep reflection and momentum inflexible of passions . "

Irene Finotti est chercheur à l'Université de Milan. Cette édition constitue l'aboutissement de sa thèse de doctorat, soutenue en 2005.
Première traduction française (1529) de "Grisel y Mirabella" de Juan de Flores. - Bibliogr. p. 271 - 281. - Index. - Glossaire.

Une étude monographique de l’oeuvre de Jean Daret, peintre, dessinateur, architecte et graveur né à Bruxelles, ayant fait la plus grande partie de sa carrière à Aix-en-Provence au milieu du XVIIe siècle. Cette thèse compte deux parties et des annexes. La première est une biographie de l’artiste qui le place dans le contexte de son époque et de son milieu social. Elle comprend une étude de ses activités financières et ses relations avec ses principaux clients et collègues, notamment avec Pierre Maurel de Pontevès, son protecteur en Provence et son cousin le graveur parisien Pierre Daret. La deuxième partie est une étude de l’oeuvre de Daret dans le contexte des développements artistiques à Aix, à Paris, en Italie et en Flandres. Elle montre qu’il était au courant des dernières évolutions en la matière, mais que les thèmes traités restaient traditionnels. Les annexes comprennent la transcription de documents inédits et un catalogue raisonné des peintures, dessins et estampes de l’artiste
A monographic study of the work of Jean Daret a painter, draughtsman, architect and printmaker born in Brussels who spent the major part of his career in Aix-en-Provence in the middle of the 17th century. This dissertation comprises two sections. The first is a biography of the artist which places him in the context of his time and social milieu. It includes a study of his financial activities and relations with his clients and colleagues, in particular Pierre Maurel de Pontevès, his patron in Provence and his cousin the Parisian printmaker Pierre Daret. The second section is devoted to a study of Daret’s oeuvre in the context of artistic developments in Aix, Paris, Italy and Flanders. The annexes include the catalogue raisonné of the artist’s paintings, drawings and prints in addition to transcriptions of unpublished archival documents

Ma these - intitulee jean pelegri et l'algerie - est divisee en quatre chapitre. Dans le premier chapitre, nous parlerons de l'auteur jean pelegri, ses origines, sa naissance, ses amis, ses etudes, et sa position vis a vis de la situation vecue par les algeriens et les responsables de cette situation. Dans le deuxieme chapitre mentionne sous le titre " contexte historique ", nous avons parle de la conquete, du peuplement europeen en l'algerie, de la depossession des paysans et de la periode dans laquelle certains colonises ont demande l'assimilation avec les europeens. Nous avons traite encore des evenements survenus a la suite de la deuxieme guerre mondiale. Nous avons parle de l'insurrection du 1er novembre 1954. Enfin c'etait l'independance. Dans le troisieme chapitre, nous avons aborde les realites algeriennes : les realites musulmanes et les relations entre les deux communautes. Le quatrieme chapitre, se rattachera a la problematique de l'alienation du colonise, du colonisateur et de l'immigre algerien en france
In my thesis - headind jean pelegri and algeria - is divide in four chapters. In the first chapter, we speak of the author jean pelegri his origins, his birth, his friends, his studies and his position facing of the situation founded on fact by the the algerians and the responsables of this situation. In the second chapter mentionned " context historic ", we have spoke of the conquest, of the peuplement european in algeria, of the peasant's dispossession and of the period in which unquestionables colonies has wanted assimilation with the europeans. We have treat also the happenings arrived in algeria in consequence of the second world war. We have spoke of the insurrection of the first november 1954. At last it was the independence. In the third chapter, we have toke up the algerians realities : the musulmans'realities and the relations between the two communities. The fourth chapter be connected to the problematic of the alienation of the colony, colonizateur and that of the immigrant algerian in france

Cette etude se propose de faire jouer le concept de theatralite, dans son denuement, dans sa disponibilite, comme un point de cristallisation qui permette de poser les enjeux de l'ecriture dramatique. Il peut paraitre surprenant que nous soumettions jean giono a un questionnement assez peu pertinent pour qui lit son oeuvre. Nous ne nous engageons pas a defendre une production dramatique qui peche par defaut ou exces de theatralite. Nous nous placons deliberement dans une recherche des mecanismes de l'invention. Jean giono a-t'il cru, a un moment donne, qu'il pouvait s'engager dans une carriere d'auteur dramatique ? il y a en tout cas vite renonce, sans que ses explications nous convainquent pleinement. Il est aise de denoncer les insuffisances de son theatre et de constater que le romancier n'a pas voulu jouer le jeu du dramaturge. Mais c'est toujours marginaliser une tentative somme toute peu raisonnable et vite oubliee. Nous nous sommes inspires des etudes qui inscrivent cette production dans la chaine a retablir entre les deux " maniere ", tant nous sommes nourris des travaux consacres aux mutations d'une oeuvre qui ne procede pas par ruptures, mais temoigne d'une recherche permanente de la forme. Nous ne nous en tenons pas cependant a la seule production dramatique : nous estimons que le travail de la forme narrative a rendu cette experience inutile en l'integrant, en faisant un caractere latent qu'aucune scene ne pourra jamais reduire
This study is about the idea of theatrality in all its buseness, its availability, as a focus-point allowing as to fin the stakes of playwriting. It may seen surprising that giono should be questioned on a subject so little relevant for these who know his works. We don't want to defend a dramatic writing has too little or too much theatrality. We have decided to, deliberately, look for the mechanisms of invention. Did giono believe, at any time, that be could start a coueer as a playwright ? anyway he gave up quite quickly, however his explanations don't round very convincing. It is easy to denounce the shortcomings of his plays and to state that the novelist didn't want to put on the act of the playwright. This would-in any case-mean to cast out an attempt considered to be unreasonable and that was quickly forgotten. We have drawn our inspiration from these studies that have tried to insert his plays into a chain in order to create a link between the two "manieres". Indeed, we were no taken in by the works devoted to transformation in a work that doesn't admet gaps but shows a continous research for form. We don't limit ourselves to plays only : we consider that writing narrative prose has feed the author from this experience as he has integrated and transformed it into a hidden presence that no stage will ever be able to diminish

La thèse Jean Cocteau et l'Italie porte – comme en témoigne son titre - sur l'analyse des relations de Jean Cocteau avec l'Italie. Elle s'inscrit ainsi dans le sillage des études qui, surtout dans ces dernières années, se sont occupées de la dimension européenne de Jean Cocteau, en mettant en relief l'influence que le poète a eu sur la culture européenne de la première moitié du XXe siècle. Jean Cocteau et l'Italie essaie de reconstruire un panorama des relations du poète avec la péninsule. Elle s'articule sur quatre chapitres qui traitent, chacun, un aspect du problème : les voyages et les séjours du poète, les liens, l'Italie dans l'œuvre, la réception de l'œuvre et le jugement sur le personnage de la part des italiens. En annexe, une série d'inédits (notamment des correspondances) est présentée, qui montre la profondeur et l'importance des relations humaines et artistiques du poète avec ses contemporains italiens : de Giorgio de Chirico à Alberto Savinio, de Gabriele d'Annunzio à Fabrizio Clerici. Cette étude représente une première tentative d'offrir une synthèse d'un sujet qui se révèle très intéressant et très riche. Son importance est témoignée surtout par les résultats de la recherche archéologique qui, conduite dans plusieurs archives (françaises mais surtout italiennes), a révélé l'importance, non seulement pour ce qui est de l'histoire littéraire mais aussi, plus spécialement, pour l'évolution de la personnalité et de l'œuvre de Cocteau, du rapport avec l'Italie
As the title underlines, the thesis Jean Cocteau et l'Italie deals with the analysis of the relations between J. C. And Italy. It becomes part of the trend of studies which, mainly during last years, have been dealing with Jean Cocteau European dimension, underlining the influence the poet had on the European culture in the first part of XXth century. Jean Cocteau et l'Italie tries to reconstruct an outline of the relations between the poet and the peninsula. The thesis is devided into four chapters, each of them dealing with a particular side of the problem: the journeys of the poet, his relations, the image of Italy in his work, how people aknowledge it and how italians judge the character. The appendix contains a series of unpublished textes (in particular some correspondence letters), showing the depth and the importance of the human and artistic relations between the poet and his Italian contemporaries: from Giorgio De Chirico to Alberto Savino, from Gabriele D'Annunzio to Fabrizio Clerici. This research is a first way to offer a synthesis of a very rich and interesting subject. Its importance is witnessed, above all, by the results of the archeological research dealt in different archives (French and Italian especially), which showed the importance of the relationship between Italy and the poet, for his literary history, personality and works

Formé à l'école des Arts décoratifs, puis à l'école des Beaux-Arts, Jean Camille Formigé (1845-1926) devient architecte en 1871. Il connait ses premiers succès comme collaborateur de Ballu et Deperthes, les architectes de l'Hôtel de ville de Paris, dont il poursuivra l'oeuvre. Très vite reconnu par ses pairs, il devient archéologue, puis urbaniste. Entouré des plus grands artistes de son époque: Garnier, Eiffel, Rodin, Laurens, Formigé réintroduit de manière magistrale la couleur, technique, l'ornement, dans une architecture toujours adaptée aux nouveaux programmes. On le consulte dans toutes les grandes occasions: les grands concours d'édifices publics, ou les aménagements urbains de la ville de Paris: le métro aérien, les parcs et jardins, le cimetière du Père Lachaise, ou les serres municipales. Devenu très jeune un homme public grâce aux palais réalisés pour l'exposition universelle de 1889, son finira par sombrer dans l'oubli. Pourquoi? Pour répondre à cette question, il est nécessaire d'analyser le contexte dans lequel Formigé exerce, avant de commenter son travail. Cet artiste très prolixe, d'inspiration classique, précurseur de l'Art Nouveau, ne cherche pas à se démarquer de son temps. Au contraire, son oeuvre constitue un étonnante synthèse des courants en vigueur, et fait de lui un des plus brillants représentants de son époque. Un catalogue raisonné, à partir d'une sélection d'oeuvres inédites tirées du dépouillement de son fonds d'agence illustre cette thèse. Formigé, avant d'être architecte, archéologue ou urbaniste, était avant tout un dessinateur hors pair.

Ce mémoire consacré au poète Jean Follain (1903-1971) entend tracer un parcours de reconnaissance aux multiples facettes dans une œuvre qui égare par sa fallacieuse immutablitité et engager un travail de réhabilitation, afin de replacer le poète à sa juste place dans la poésie contemporaine, à la fois précurseur et à "contre-temps". Son éclectisme intellectuel (littérature, sociologie, histoire, peinture, liturgie, etc. ), ainsi que l'ouverture en 1996 de ses archives au public engagent la critique à complèter une approche traditionnelle (critique thématique, phénoménologie, sémiotique et poétique) par de nouveaux outils d'analyse (sociologie et champs littéraires, critique génétique). Effectuer la "genèse" du poète consiste à la fois à analyser de quelle façon il projette dans son œuvre l'invention de soi comme écrivain, à faire découvrir son discours théorique inédit, à retracer son itinéraire intellectuel et esthétique (revues, groupes) et à replacer au cœur de l'écriture des manuscrits l'auteur comme sujet
This dissertation, devoted to the poet Jean Follain (1903-1971), intends to mark out a multi-faceted path of recognition in a work that misleads readers because of its fallacious immutability. It also intends to restore the importance of the poet by putting him back in his place in contemporary poetry, both as a poet ahead of his time and a poet who did not folow the literary trends of the moment. His intellectual eclecticism (literature, sociology, history, painting, liturgy, etc. ) as well as the opening in 1996 of his archives to the public invite scholars to complete a traditional approach (using thematic criticism, phenomenology, semiotics and poetics) consists of analyzing how he invents himself as a writer, of discovering his unpublished theoretical discourse, of making out his intellectual and esthetic itinerary (literary journals and groups with whom he was involved), and of placing the author as a subject in the heart of his manuscripts

Cette thèse présente la biographie de Jean Kanapa (1921-1978), intellectuel et dirigeant communiste, personnage emblématique de l'histoire du communisme français de l'après-guerre. On peut distinguer dans l'itinéraire de Kanapa six étapes: ses années de formation et son passage de Sartre à Staline ; son expérience, dix ans, à la tête de la revue la nouvelle critique; ses séjours à l'Est, près de 10 ans encore ; son intimité et sa collaboration avec Waldeck Rochet puis avec Georges Marchais ; sa participation active, de 1975 à 1978, à la direction du PCF ; sa vie posthume, enfin. Ce sont les six parties de cette thèse. Personnage assez exceptionnellement détesté, selon la rumeur, mais entouré aussi d'une camarilla d'inconditionnels, Kanapa est un homme excessif ; il a la facheuse habitude d'en faire trop. Il en " rajoute ", et l'avantage de cet inconvénient, c'est qu'en forcant le trait, il est un bon révélateur. Il indique des lignes de force de l'histoire communiste que masquent des profils plus lisses. Cette singulière histoire communiste rend intelligible une étape, essentielle, de l'existence du PCF.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.
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As traduções das fábulas de La Fontaine no Brasil começaram a ser realizadas em meados do século XIX. Elas fazem parte do sistema literário local desde sua formação até os dias atuais. Este trabalho tem como objetivo principal a construção de uma história descritiva das traduções brasileiras das fábulas lafontainianas. Para tanto, realiza-se uma pesquisa descritiva, de cunho historicista, dentro da qual se analisam paratextos editoriais dessas traduções. O espaço temporal coberto pelo estudo é de 171 anos, de 1839, ano da primeira edição brasileira de fábulas de La Fontaine, até 2010, ano em que se inicia a pesquisa. O referencial teórico desta tese constitui-se pela Teoria dos Polissistemas, pelos Estudos Descritivos da Tradução e, ainda, pelo trabalho de Gérard Genette sobre paratextos editorias.

Abstract : La Fontaine s fables began to be translated in Brazil in the mid-nineteenth century. They are part of Brazilian literary system since its formation to the present day. The main objective of this study is to build a descriptive history of Brazilian translations of la Fontaine s fables. In order to do so, this study performs a descriptive research, with a historicist nature, in which we analyze editorial paratexts of these translations. The timeline covered by the study comprehends 171 years, starting in 1839, year of the first Brazilian edition of La Fontaine's fables, until 2010, starting date of this research. The theoretical framework used for this thesis is the Polysystem Theory, the Descriptive Translation Studies, and by the work of Gérard Genette on editorial paratexts.

A l’échelle mésoscopique (~cm-µm), la diffusion des solutés ioniques dans l’argilite du Callovo-Oxfordien de Bure (Meuse/Haute Marne, France) dépend de l’organisation spatiale de la porosité et des minéraux (principalement argiles, carbonates et quartz). L'obtention de cartes minérales 2-D (microscopie électronique) ou 3-D (microtomographie de rayons X) est rendu possible par le développement de techniques de segmentation spécifiques. Les cartes de porosité obtenues par la méthode 3H-PMMA sont clairement corrélées à la minéralogie. Elles démontrent que les porosités locales (~µm) et globales (~cm) dépendent principalement de la teneur en minéraux argileux, les quartz et les carbonates pouvant être considérés comme non poreux. La diffusion des solutés a été modélisée à partir de la distribution spatiale 3-D réelle des minéraux et de la porosité. Cette approche a permis de quantifier le rôle des minéraux non poreux sur la géométrie des chemins de diffusion dans l’argilite. Le facteur de géométrie des chemins de diffusion a été corrélé à la teneur et la morphologie des minéraux non poreux. Les résultats obtenus ont mis en évidence une anisotropie de diffusion due à l’orientation préférentielle des grains de quartz et de carbonates dans le plan de sédimentation. A partir de méthodes de cartographies élémentaires, la distribution spatiale de l’ion Cu2+ et des minéraux a été acquise à l’échelle mésoscopique après une expérience de diffusion. Les résultats expérimentaux confirment les liens existant entre diffusion et minéralogie
In Bure Callovo-Oxfordian argillite (Meuse/Haute Marne, France), the spatial organisation of porosity and minerals (mainly quartz, carbonates, and clays) controls the solute diffusion at mescoscopic scale (~cm-µm). New developments in the field of image analysis were devoted to extract mineral maps from 2-D (scanning electron microscopy) and 3-D (X-ray microtomography) imaging techniques. The porosity maps provided by the 3H-PMMA method demonstrate that porosity and mineral distributions are clearly correlated. The local (~µm) and global (~cm) porosity depend mainly on clay mineral content, carbonates and quartz being unporous. Solute diffusion was modelled from actual 3-D mineral and porosity spatial distribution. Using this numerical approach, diffusion pathways were quantified according to the mineral distribution. The geometry factor was correlated to the fraction and the morphology of unporous mineral. A diffusion anisotropy due to the preferential orientation of carbonates and quartz was also underlined by this approach. In an experimental way, Cu2+ diffusion and mineral was visualised and quantify at mescoscopic scale from elemental mapping methods. These techniques provide various relationships between Copper distribution and mineralogy

Les récents progrès des microtechnologies permettent le développement de microdrones d’une envergure inférieure à 15 cm devant assurer des missions d’observation ou d’intervention en milieu risqué. Une approche biomimétique utilisant un système de locomotion par ailes battantes semble notamment prometteuse car elle permettrait une capacité de vol stationnaire et une grande manoeuvrabilité en milieu confiné. Cependant, l’aérodynamique des ailes battantes à bas nombre de Reynolds diffère sensiblement de l’aérodynamique des applications classiques en raison du phénomène de lâcher tourbillonnaire et de la superposition de nombreux mécanismes instationnaires. Dans le cadre de cette thèse, nous avons dans un premier temps étudié le lâcher tourbillonnaire derrière un profil d’aile en caractérisant théoriquement et expérimentalement l’apparition de ce lâcher puis en le simulant numériquement. Des essais en bassin hydrodynamique précisent enfin l’influence des effets 3D et du nombre de Reynolds sur les efforts créés par le lâcher tourbillonnaire. Dans un deuxième temps, nous avons étudié par simulation numérique directe (DNS) les mouvements fondamentaux du vol battu, c'est-à-dire le pilonnement pur et le tangage pur, afin de mettre en évidence les mécanismes instationnaires, de différencier les stratégies du vol battu et de proposer des modèles simplifiés pouvant décrire les efforts instantanés
Recent progress made in the domain of microtechnologies allow the design of very small sized Micro Air Vehicles (MAVs), whose wingspan is inferior than 15 cm, suitable for observation or intervention in hazardous environments. A biomimetic approach using flapping wing locomotion seems to be promising because it could allow hovering flight and great manoeuvrability in confined environments. However, flapping wings aerodynamics at low Reynolds numbers differs from classical applications aerodynamics due to the vortex shedding phenomenon and the superimposition of various unsteady mechanisms. In a first time, we have studied the vortex shedding on an airfoil by characterising theoretically and experimentally its apparition and then by simulating it numerically. Experiments in a water tank have finally specified the three dimensional effects and Reynolds number effects on the efforts generated by the vortex shedding. In a second time, thanks to direct numerical simulation (DNS), we have studied the fundamental movements of the flapping flight, i. E. Pure heaving and pitching movements, so as to emphasize the various unsteady mechanisms, to differentiate the various flapping flight strategies and to propose simplified models that could describe instantaneous efforts

L'éducation à l'environnement est indispensable pour pallier l'érosion de la biodiversité. Les médias et l'école ont une place importante dans la sensibilisation du public, mais ils diffusent presque exclusivement des images et des messages basés sur une biodiversité spectaculaire, exotique et lointaine (ours polaire, baleinzs. . . ). L'éducation scolaire a donc un rôle important pour étendre la connaissance des enfants vers une gamme étendue d'organismes. Grâce à des questionnaires écrits diffusés dans dix pays en Europe (7), Afrique (1), et Asie (2), nous avons sondé chez des écoliers (âgés de 7 à 14 ans) leur perception des animaux. Le constat est alarmant : les enfants sont déconnectés de leur environnement local. Miroirs des médias, les enfants ont une vision restreinte de la biodiversité à protéger, limitée à quelques animaux qu'ils ont vu sur des écrans de TV ou d'ordinateur. Mais l'enquête réalisée sur la perception des serpents pour les enfants montre que ceux-ci ont une aversion modérée et que la plupart expriment leur envie de les protéger, ce qui est très encourageant. Nous avons emmené près de 600 élèves découvrir sur le terrain les espèces locales de serpents. Grâce à l'activation du canal affectif, la grande majorité des enfants sont prêts à protéger préférentiellement les serpents, au même titre que les pandas. L'ensemble de ces résultats montre tout d'abord une nette défaillance du système éducatif qui favorise l'information dogmatique et virtuelle au détriment des sorties de terrain et des expériences concrètes avec la nature. Celles-ci sont pourtant essentielles pour connecter les enfants avec l'environnement local et favoriser des comportement positifs nécessaires à la préservation de la biodiversité. Pour faire des progrès et étendre l'intérêt des enfants pour un maximum d'espèces, il est essentiel de travailler avec des espèces soit disant impopulaires telles que les serpents, que les enfants adoptent très vite
Environmental education is one of the main tools to overcome the current loss of biodiversity. Media and school occupy a central place to educate public, but they broadcast almost exclusively messages based on few spectacular and exotic animals (polar bear, whales…). Scholar education has a crucial role to promote knowledge, awareness, of schoolchildren and thus their willingness to protect a wide range of organisms, including less popular species. Using written questionnaires, we surveyed in ten different countries on Europe 7, Africa 1, and Asia 2, the perceptions of schoolchildren aged from 6 to 14 years for animals. The outcome is alarming: schoolchildren are disconnected from their local environment. Mirroring media, schoolchildren can list very few animal species requiring protection which they watched on TV screens. However, a survey of the perception of schoolchildren for snakes showed a moderate aversion level and a clear willingness to protect them, a surprising and encouraging result. We brought almost 600 children to discover native snakes through field experiences. Via the activation of the affective channel, almost all the children expressed their willingness to protect snakes, at the same level than panda and other loveable species. This study reveals the failure of the scholar educational system that focuses on dogmatic message, virtual information and intellectual approach to the detriment of field trips and physical contact with wildlife. A concrete approach of biodiversity is however essential and urgent to reconnect children with their local environment. Our results reinforce the (so far) fruitless message that schoolchildren should be bring into the field to generate positive attitude and behaviour toward the protection of the biodiversity. Environmental education should not neglect unpopular organisms declared. To progress, significant efforts must be produced to not limit conservation messages and actions to few iconic species

Cette thèse a pour objectif d’étudier le retour de la tragédie grecque sur la scène française du XXe siècle, et de comprendre les significations qui s’appliquent à la forme théâtrale de la tragédie au XXe siècle, autour de quelques figures féminines. Notre recherche doctorale a retenu cinq écrivains, auteurs de pièces de théâtre inspirées par des personnages de la tragédie grecque : Jean Giraudoux, Jean Anouilh, Jean Cocteau, Jean-Paul Sartre et André Gide.En partant des oeuvres de l’Antiquité grecque comme berceau de la tragédie, on conçoit rapidement le fait que ces oeuvres constituent une source inépuisable pour les dramaturges français à travers les siècles. Ainsi, les auteurs français n’ont pas cessé de redonner la vie aux personnages tragiques grecs. Toutefois, il n’y a pas de lien particulier avec la civilisation antique si ce n’est un regard posé sur des mythes fondateurs de la pensée humaniste. Au plan méthodologique, nous nous appuyons sur les oeuvres, sans faire - plus que nécessaire - référence aux œuvres du théâtre grec. Bien qu’il prenne place dans le champ de la dramaturgie pour réinventer les dispositions d’un espace sociétal en plein mutation, le genre féminin n’a jamais été étudié d’une manière spécifique, détaillée et à partir d’un large corpus.Ce travail de thèse entre dans le cadre général de la thématique de la transformation du féminin qui est ainsi retranscrite ou traduite par la parole du dramaturge masculin. Après une identification de la personnalité des héroïnes et de leurs attitudes, notre propos sera de décrypter le réseau des alliances entre féminin et masculin. Les femmes s’impliquent dans les systèmes d’organisation que nous avons classés en trois parties : les relations dans la famille, les relations dans le couple et les relations dans le système politique. Au terme de cette exploration, nous arriverons à la conclusion suivante : la nouvelle identité que le XXe siècle a offerte à la femme a été mise en valeur. Alors qu’une infériorité considérable marque le statut de la femme, pendant des siècles, par rapport à celui de l'homme, des thématiques nouvelles surgissent pour donner naissance à une amélioration remarquable et à un changement de statut de la femme
This thesis aims to study the return of the Greek tragedy into French theatre in the twentieth century, and to understand the significance applied to the Tragedy in the twentieth century focusing on some female figures. In this research, the following five French playwrights, authors of plays were chosen because they were inspired by characters of Greek Tragedy: Jean Giraudoux, Jean Anouilh, Jean Cocteau, Jean-Paul Sartre and André Gide.The return of Greek themes in French plays over the years shows us indeed just how valuable these finite sources of information and reference actually are and how much of an inspiration they have been. For this reason mainly, authors such as those mentioned above have not stopped bringing these old characters back to life in their plays. There is not any specific link with old civilization; it is but a look at the founding myths of the humanistic thinking. In terms of the methodology, work done in the 20th century with relation to classic Greek themes/ tragedy genre, has been selected specifically as a tool of studying more recent French theatre. The role played by these female characters in these plays has not been analyzed or looked at before in detail using this quantity of authors as a sample, making this thesis unique and an interesting contribution to the field.This study looks more deeply into the change or shift that took place when considering the role/character played by women in these plays, through the eyes of these male authors. After determining these distinctive female characters and their personalities and attitudes, the relationship between men and women can be analyzed and particular relationships, divided into 3 sections, namely will be analyzed and discussed: -  Role and relationship of female characters from a political system perspectiveThis thesis will aim to conclude that the identity and status associated to female characters, for several centuries have been significantly less than the status of men, and more specifically in these olden Greek plays from the 20th century.The study predicts that in light of the recent changes and developments undergone by new French play writers, inspired by classic Greek genre has led to a paradigm shift and drastic improvement in the identity and status associated to the Female characters in these plays

Cette etude comparatiste porte sur les pieces de jean giraudoux, la guerre de troie n'aura pas lieu (1935) et electre (1937), celle de jean anouilh, tu etais si gentil quand tu etais petit ! (1969) ainsi que sur les monologues dramatiques du recueil poetique de yannis ritsos, la quatrieme dimension (1975). Les mythes classiques d'helene et de clytemnestre s'enrichissent de variantes dynamiques novatrices qui mettent en valeur leur fonction symbolique. Figures ambivalentes, les jumelles apparaissent sous des aspects meconnus de leurs mythes : elles evoquent chaque age et etape de la vie feminine, defendant les valeurs de la religion matriarcale qui prevalait dans les civilisations prehelleniques. Representations d'une grande deesse neolithique toute-puissante, les reines emergent dans l'imaginaire litteraire en apportant leur heritage religieux ancien : elles obeissent aux lois de cette divinite feminine supreme dont elles assument la fonction majeure, la creation. Ainsi est d'abord analysee la feminite des jumelles, qu'elle soit idealisee ou au contraire diabolisee, avant que ne soient eclairees leurs aventures amoureuses. Puis l'etude s'attache aux manifestations de la maternite, reelle ou imaginaire : les heroines defendent la fecondite jusque dans sa dimension cosmique. La derniere etape interprete leur alliance exceptionnelle avec les creatures de l'univers, leur sagesse et leurs rapports privilegies avec le surnaturel. Femmes epicuriennes, elles echappent a toute notion de moralite et illustrent la bienveillance et la monstruosite a la fois d'une feminite sacree
This comparative study bears on the plays written by jean giraudoux, la guerre de troie n'aura pas lieu (1935) and electre (1937), jean anouilh, tu etais si gentil quand tu etais petit ! (1969) as well as the dramatic monologues in yannis ritsos' poetic work, la quatrieme dimension (1975). The playwrights and poet increase the symbolic value of the classical myths of helen and clytemnestra through their innovating dynamic variants. The ambivalent figures of the twins are represented in the least familiar dimensions of their myths, offering each phase and age of female life and defending the values of the matriarchal religion which prevailed in pre-hellenic civilizations. As manifestations of a neolithic, almighty great goddess, those queens stand out in the literary imagination, bringing the legacy of their ancient religion : they abide by the laws of this supreme feminine deity whose main function of creation they fill. Helen's and clytemnestra's femininity is first analysed, whether it be sacralised or on the contrary demonized, leading to an interpretation of their love adventures. The second step of the study covers the manifestations of maternity, be it real or imaginary, even in its cosmic dimension. Lastly, the alliance established between the twins and the creatures in the universe is examined, as well as their wisdom and their privileged links with the supernatural. Those epicurean women elude any notion of morality, and illustrate both the benevolence and monstruosity of a sacred femininity

This autobiographic novella is part of longer novel, not yet written. The novel, "Le temps d'une vie", has three parts, corresponding to three periods in the life of the character. This novella is the first part of the novel. The story takes place in a small village south of France, between the Mediterranean Sea and the vineyards. A child, then a teenager, comes to his grand parents' house for holidays: Christmas, Easter and the long summer break. He meets grand parents, aunts, and an uncle. For him and his friends, the whole village and the countryside around are their playground. He experiences a life there quite different from his regular one in the city of Bordeaux with his parents. The novella was first written in French, then translated into English by Dr Siobhan Brownlie. The translator and I discussed various problems that arose, the main issue being dealing with culturally specific terms in the French text. The novella was judged by Dr Donna Lee Brien not as a translation but as an original piece of writing, and she made suggestions for changes to the English text. I implemented some of these changes in order to produce a further version of the English text and finding some of the suggestions useful for the French text too, I implemented corresponding changes in the French text. Dr Siobhan Brownlie wrote a paper about the translation process of this thesis, "Original as Translation; Translation as Original". The paper has been published in "UQ Vanguard", 2003, mini-series #3. Contact: UQ Vanguard, c/o Clubs and Societies, UQ Union, University of Queensland, St Lucia 4072. uqvanguard@uq.edu.au; www.emsah.uq.edu.au/uqvanguard

Bananas are susceptible to a diverse range of biotic and abiotic stresses, many of which cause serious production constraints worldwide. One of the most destructive banana diseases is Fusarium wilt caused by the soil-borne fungus, Fusarium oxysporum f. sp. cubense (Foc). No effective control strategy currently exists for this disease which threatens global banana production. Although disease resistance exists in some wild bananas, attempts to introduce resistance into commercially acceptable bananas by conventional breeding have been hampered by low fertility, long generation times and association of poor agronomical traits with resistance genes. With the advent of reliable banana transformation protocols, molecular breeding is now regarded as a viable alternative strategy to generate disease-resistant banana plants. Recently, a novel strategy involving the expression of anti-apoptosis genes in plants was shown to result in resistance against several necrotrophic fungi. Further, the transgenic plants showed increased resistance to a range of abiotic stresses. In this thesis, the use of anti-apoptosis genes to generate transgenic banana plants with resistance to Fusarium wilt was investigated. Since water stress is an important abiotic constraint to banana production, the resistance of the transgenic plants to water stress was also examined. Embryogenic cell suspensions (ECS) of two commercially important banana cultivars, Grand Naine (GN) and Lady Finger (LF), were transformed using Agrobacterium with the anti-apoptosis genes, Bcl-xL, Bcl-xL G138A, Ced-9 and Bcl- 2 3’ UTR. An interesting, and potentially important, outcome was that the use of anti-apoptosis genes resulted in up to a 50-fold increase in Agrobacterium-mediated transformation efficiency of both LF and GN cells over vector controls. Regenerated plants were subjected to a complete molecular characterisation in order to detect the presence of the transgene (PCR), transcript (RT-PCR) and gene product (Western blot) and to determine the gene copy number (Southern blot). A total of 36 independently-transformed GN lines (8 x Bcl-xL, 5 x Bcl-xL G138A, 15 x Ced-9 and 8 x Bcl-2 3’ UTR) and 41 independently-transformed LF lines (8 x Bcl-xL, 7 x BclxL G138A, 13 x Ced-9 and 13 x Bcl-2 3’ UTR) were identified. The 41 transgenic LF lines were multiplied and clones from each line were acclimatised and grown under glasshouse conditions for 8 weeks to allow monitoring for phenotypic abnormalities. Plants derived from 3 x Bcl-xL, 2 x Ced-9 and 5 x Bcl-2 3’ UTR lines displayed a variety of aberrant phenotypes. However, all but one of these abnormalities were off-types commonly observed in tissue-cultured, non-transgenic banana plants and were therefore unlikely to be transgene-related. Prior to determining the resistance of the transgenic plants to Foc race 1, the apoptotic effects of the fungus on both wild-type and Bcl-2 3’ UTR-transgenic LF banana cells were investigated using rapid in vitro root assays. The results from these assays showed that apoptotic-like cell death was elicited in wild-type banana root cells as early as 6 hours post-exposure to fungal spores. In contrast, these effects were attenuated in the root cells of Bcl-2 3’ UTR-transgenic lines that were exposed to fungal spores. Thirty eight of the 41 transgenic LF lines were subsequently assessed for resistance to Foc race 1 in small-plant glasshouse bioassays. To overcome inconsistencies in rating the internal (vascular discolouration) disease symptoms, a MatLab-based computer program was developed to accurately and reliably assess the level of vascular discolouration in banana corms. Of the transgenic LF banana lines challenged with Foc race 1, 2 x Bcl-xL, 3 x Ced-9, 2 x Bcl-2 3’ UTR and 1 x Bcl-xL G138A-transgenic line were found to show significantly less external and internal symptoms than wild-type LF banana plants used as susceptible controls at 12 weeks post-inoculation. Of these lines, Bcl-2 3’ UTR-transgenic line #6 appeared most resistant, displaying very mild symptoms similar to the wild-type Cavendish banana plants that were included as resistant controls. This line remained resistant for up to 23 weeks post-inoculation. Since anti-apoptosis genes have been shown to confer resistance to various abiotic stresses in other crops, the ability of these genes to confer resistance against water stress in banana was also investigated. Clonal plants derived from each of the 38 transgenic LF banana plants were subjected to water stress for a total of 32 days. Several different lines of transgenic plants transformed with either Bcl-xL, Bcl-xL G138A, Ced-9 or Bcl-2 3’ UTR showed a delay in visual water stress symptoms compared with the wild-type control plants. These plants all began producing new growth from the pseudostem following daily rewatering for one month. In an attempt to determine whether the protective effect of anti-apoptosis genes in transgenic banana plants was linked with reactive oxygen species (ROS)-associated programmed cell death (PCD), the effect of the chloroplast-targeting, ROS-inducing herbicide, Paraquat, on wild-type and transgenic LF was investigated. When leaf discs from wild-type LF banana plants were exposed to 10 ìM Paraquat, complete decolourisation occurred after 48 hours which was confirmed to be associated with cell death and ROS production by trypan blue and 3,3-diaminobenzidine (DAB) staining, respectively. When leaf discs from the transgenic lines were exposed to Paraquat, those derived from some lines showed a delay in decolourisation, suggesting only a weak protective effect from the transgenes. Finally, the protective effect of anti-apoptosis genes against juglone, a ROS-inducing phytotoxin produced by the causal agent of black Sigatoka, Mycosphaerella fijiensis, was investigated. When leaf discs from wild-type LF banana plants were exposed to 25 ppm juglone, complete decolourisation occurred after 48 hours which was again confirmed to be associated with cell death and ROS production by trypan blue and DAB staining, respectively. Further, TdT-mediated dUTP nick-end labelling (TUNEL) assays on these discs suggested that the cell death was apoptotic. When leaf discs from the transgenic lines were exposed to juglone, discs from some lines showed a clear delay in decolourisation, suggesting a protective effect. Whether these plants are resistant to black Sigatoka is unknown and will require future glasshouse and field trials. The work presented in this thesis provides the first report of the use of anti-apoptosis genes as a strategy to confer resistance to Fusarium wilt and water stress in a nongraminaceous monocot, banana. Such a strategy may be exploited to generate resistance to necrotrophic pathogens and abiotic stresses in other economically important crop plants.

Seven endemic governance problems are shown to be currently present in governments around the globe and at any level of government as well (for example municipal, federal). These problems have their roots traced back through more than two thousand years of political, specifically ‘democratic’, history. The evidence shows that accountability, transparency, corruption, representation, campaigning methods, constitutionalism and long-term goals were problematic for the ancient Athenians as well as modern international democratisation efforts encompassing every major global region. Why then, given the extended time period humans have had to deal with these problems, are they still present? At least part of the answer to this question is that philosophers, academics and NGOs as well as MNOs have only approached these endemic problems in a piecemeal manner with a skewed perspective on democracy. Their works have also been subject to the ebbs and flows of human history which essentially started and stopped periods of thinking. In order to approach the investigation of endemic problems in relation to democracy (as the overall quest of this thesis was to generate prescriptive results for the improvement of democratic government), it was necessary to delineate what exactly is being written about when using the term ‘democracy’. It is common knowledge that democracy has no one specific definition or practice, even though scholars and philosophers have been attempting to create a definition for generations. What is currently evident, is that scholars are not approaching democracy in an overly simplified manner (that is, it is government for the people, by the people) but, rather, are seeking the commonalities that democracies share, in other words, those items which are common to all things democratic. Following that specific line of investigation, the major practiced and theoretical versions of democracy were thematically analysed. After that, their themes were collapsed into larger categories, at which point the larger categories were comparatively analysed with the practiced and theoretical versions of democracy. Four democratic ‘particles’ (selecting officials, law, equality and communication) were seen to be present in all practiced and theoretical democratic styles. The democratic particles fused with a unique investigative perspective and in-depth political study created a solid conceptualisation of democracy. As such, it is argued that democracy is an ever-present element of any state government, ‘democratic’ or not, and the particles are the bodies which comprise the democratic element. Frequency- and proximity-based analyses showed that democratic particles are related to endemic problems in international democratisation discourse. The linkages between democratic particles and endemic problems were also evident during the thematic analysis as well historical review. This ultimately led to the viewpoint that if endemic problems are mitigated the act may improve democratic particles which might strengthen the element of democracy in the governing apparatus of any state. Such may actively minimise or wholly displace inefficient forms of government, leading to a government specifically tailored to the population it orders. Once the theoretical and empirical goals were attained, this thesis provided some prescriptive measures which government, civil society, academics, professionals and/or active citizens can use to mitigate endemic problems (in any country and at any level of government) so as to improve the human condition via better democratic government.

This thesis deals with the issues of quantifying economic values of coastal and marine ecosystem services and assessing their use in decision-making. The first analytical part of the thesis focuses on estimating non-market use and non-use values, with an application in New-Caledonia using Discrete Choice Experiment. The second part examines how and to what extent the economic valuation of ecosystem services is used in coastal management decision-making with an application in Australia. Using a multi-criteria analysis, the relative importance of ecological, social and economic evaluation criteria is also assessed in the context of coastal development.

Dans cette thèse, nous proposons d’étudier l’ensemble de l’œuvre diaristique de Jean Cocteau. Le poète tient huit différents journaux personnels de 1928 jusqu’à sa mort en 1963 : Opium. Journal de désintoxication, Tour du monde en 80 jours, Journal 1942-1945, La Belle et la Bête. Journal d’un film, La Difficulté d’être, Maalesh. Journal d’une tournée de théâtre, Journal d’un inconnu et Le Passé défini. D’abord, nous présenterons la pratique du journal chez l’auteur et définirons l’approche qu’il a du genre. Il s’agit d’une part, de démontrer l’importance de cette activité pour le poète et, d’autre part, de relever l’originalité de cette forme d’écriture chez le diariste. Ensuite, nous nous attarderons sur deux éléments essentiels de sa conception du genre : la publication et la destination. Dans un premier temps, nous nous intéresserons au travail éditorial de l’écrivain, afin de comprendre comment il inscrit l’ensemble de ses journaux dans le champ de la production littéraire. Dans un deuxième temps, nous définirons le lecteur modèle du diariste et distinguerons les différentes stratégies de captation auxquelles recourt le poète. C’est à travers le regard du futur lecteur, qui s’oppose à celui du critique contemporain à Cocteau, que ce dernier aspire à immortaliser son âme démasquée
In this thesis, we take on Jean Cocteau’s full body of diaristic work. The poet has eight different diaries to his name spanning from 1928 until his death in 1963 : Opium. Journal de désintoxication, Tour du monde en 80 jours, Journal 1942-1945, La Belle et la Bête. Journal d’un film, La Difficulté d’être, Maalesh. Journal d’une tournée de théâtre, Journal d’un inconnu and Le Passé défini.We will begin by presenting the author’s diaristic practice and defining his approach to the genre. The aim is to demonstrate this activity’s importance to the poet on the one hand, and reveal the diarist’s originality in this form of writing on the other.Then, we will focus on two essential elements in his conception of the genre: publication and readership. We will firstly attend to the writer’s editorial work in order to understand where he positions the sum of his diaries within the field of literature. Secondly, we will define the typical diary reader and identify the different harnessing strategies the poet resorts to. It is with an eye on the potential reader, who is in direct opposition with Cocteau’s contemporary critic, that the writer aspires to immortalize his unmasked soul

The present dissertation takes as object of its central study the liberty theme based on the work of the philosopher Jean-Jacques Rousseau. The dissertation tackles it from the descriptions the author undertakes from the natural liberty, that is to say, the man considered toward himself and his fellows , the man toward social ties, and considered under the perspective of an ideal society of free citizens, just as it is presented in the social contract. The dissertation demonstrates the undertaken research in three moments: the first clarifies the thesis of Rousseau according to what it says the men is born free end the liberty is distinctive from the human being, and of that the man can ever dispose, the second demonstrates the descriptions of Rousseau about the conflicts between the natural liberty and the relation into the societies that were constituted in the line of the sociability, finally, it demonstrates the reflections of Rousseau about the conventional liberty , that is to say, the way that the author solves , at least from a normative point of view, the conflict between nature and society through an contract that preserves the individual as well as the public liberty. The matter is to know the author justify the institutionalization of this liberty and the presumption is that it is ensured by law. Even though the liberty theme is in the Rousseau work as a whole, the examined main texts in this search were: Speech about the origin and the fundaments of inequality among men, Emilio and From The Social contract.
A presente dissertação toma como objeto de estudo central o tema da liberdade na obra do pensador Jean-Jacques Rousseau. Aborda-o a partir das descrições que o autor empreende da liberdade natural, ou seja, o homem considerado em relação a si mesmo e aos seus semelhantes ; o homem em relação aos vínculos sociais, e considerado sob a perspectiva de uma sociedade ideal de cidadãos livres, tal qual é apresentada no Contrato social. A dissertação expõe a pesquisa empreendida em três momentos: o primeiro esclarece a tese de Rousseau segundo a qual o homem nasce livre e a liberdade é distintiva do humano e dela ele jamais pode abrir mão; o segundo expõe as descrições de Rousseau dos conflitos entre a liberdade natural e as relações presentes nas sociedades que se constituíram nos percursos da sociabilidade; por fim, apresenta as considerações de Rousseau acerca da liberdade convencional , ou seja, o modo com que o autor resolve , pelo menos de um ponto de vista normativo, o conflito entre natureza e sociedade através de um pacto que preserve tanto a liberdade individual quanto pública. A questão está em saber como o autor justifica a institucionalização desta liberdade e a suposição é que ela é assegurada pela lei. Embora o tema da liberdade esteja presente no conjunto da obra de Rousseau, os textos principais examinados nessa investigação foram: Discurso sobre a origem e os fundamentos da desigualdade entre os homens, Emílio e Do Contrato social.

The Vanishing of Jean Baudrillard examines the question of Jean Baudrillard's desire for his own disappearance as theorist. The thesis is an evaluation of the philosophical significance of his work. This is only possible by disengaging his writing from the problematic of 'postmodernism'. The category as applied to his work serves to justify perceived frivolity and aesthetic indulgence. The age of post-modernity is understood to herald a civilization of the image, or of simulation. Baudrillard's analysis of the simulacrum is often brought to bear as a theoretical justification for this argument. However for Baudrillard the simulacrum is not an image. As he conceives it, the simulacrum has the effect of undermining basic principles of reason and causality. The simulacrum qua model has the structure of anterior finality. Ultimately it renders problematic traditional conceptions of theory and its relation to the world. The transformation of the question of production provides the key to his work. Production as the fundamental logic of political economy and representation is superseded by the process of reproduction and simulation. The scene of the real and representation gives way to the exacerbated representation of the obscenity of the hyperreal - the absolute proximity of the more real than real. The hyperreal is not the simple destruction of causality or the production of ends and values but their excess. According to Baudrillard all critical discourse is a function of the previous order of representation. It only serves to sustain the myth of the real and the values of subjectivity. Through his elaboration of the processes of seduction and the fatal strategy Baudrillard attempts to access events which absorb the subject, the real, value and all sense. In this way the vanishing which Baudrillard aspires to can be perceived, though not as a project. His writing becomes the attempted elucidation of an impossible event, without reason, use or future. It is an event that cannot be reconciled to any form of subjectivity.

Jean-Baptiste Bodoni (1740-1813) est l’un des imprimeurs les plus célèbres du monde occidental et, pour l’Italie, le dernier représentant de la « Typographie d’Ancien Régime » en même temps que le premier des « modernes ». Il a en effet été le dernier capable de dessiner, graver et fondre lui-même ses caractères, tout en exerçant conjointement l’imprimerie et la librairie. Après lui, l’industrialisation du livre commence : les activités qu'il réunissait dans son entreprise, selon la tradition remontant à la naissance de l’imprimerie, se scindèrent sans retour, tandis que la production imprimée s’adressait désormais à la fois à des marchés plus vastes et à des publics différents et plus larges. Les tirages de masse s'accompagnèrent d'une baisse de la qualité et d'une plus grande banalité du style. Grâce à Angelo Pezzana, directeur de la Bibliothèque de Parme au XIXème siècle, les outils utilisés par Bodoni pour fabriquer les caractères, mais aussi ses archives et une collection complète des volumes produits par son atelier, ont été conservés jusqu’à nos jours. Il est donc possible de reconstruire la vie de Bodoni, en insistant notamment sur ses rapports avec les cours d’Europe et avec le marché de la bibliophilie, sur les conditions et les pratiques de travail dans la fonderie de caractères et dans l’imprimerie, et sur la genèse des ouvrages les plus célèbres. La fortune qui a été la sienne remonte aux décennies qui suivent sa disparition et se prolonge jusqu’à aujourd’hui, où les caractères Bodoni sont utilisés dans les graphismes publicitaires et dans les revues, ainsi que pour les marques de mode. Ils sont, toujours, des symboles de l’élégance, de la simplicité, et en même temps du luxe et de l’italianité
Giambattista Bodoni (1740-1813) is one of the most famous printers of the western world and, for Italy, the last representative of the "Ancien Régime Typography" at the same time as the first "modern". It has indeed been able to make his own characters while exercising together printing and book trade. After him, the industrialization of the book begins: the activities he met in his company, according to tradition dating back to the birth of printing, divided without return, while print production is now addressed to both larger markets and different and wider audiences. Mass prints were accompanied by a decline in quality and of greater banality of style. With Angelo Pezzana, director of the Library of Parma in the nineteenth century, the tools used by Bodoni for making type, but also its archives and a complete collection of volumes produced by his typography, have been preserved until today. It is therefore possible to reconstruct Bodoni of life, with particular emphasis on its relations with the courts of Europe and the market for bibliophile, on the conditions and labor practices in the foundry of characters and in printing, and the genesis of the most famous works. His fortune follow his death and continues until today, where Bodoni characters are used in graphics and for publications and magazines, as well as for fashion brands. They are always, symbols of elegance, simplicity, and at the same time of the luxury and of the Italian style

L'oeuvre de Rabearivelo reflète son univers social et son univers littéraire. Son univers social se manifeste à travers des ouvrages où prédominent la chronique historique, le récit romance, l'expérience vécue et le symbolisme poétique. Lécrivain y peint la société sous la monarchie avec ses castes, et la société pendant la période pré-coloniale et coloniale avec les rivalités européennes et la prise de conscience des colonies. Le pacte colonial incite l'indigène à adopter la civilisation du vainqueur mais les traditions malgaches résistent et survivent. Une certaine philosophie de la société se dessine alors. Fondée d'une part sur le pouvoir et l'avoir et sur l'intedépendance des classes d'autre part. Le cycle de l'histoire semble aussi enfermer l'homme dans la loi de la retribution. Ainsi, face à l'humiliation coloniale, Rabearivelo prône-t-il le retour à la monarchie pour retrouver la souveraineté et l'identité perdues. Mais par l'écriture, il essaie aussi d'accéder à une nouvelle dignité. Sa création littéraire dévoile, certes, ses projets, réalisées ou non, et ses théories littéraires mais elle met surtout à nu la problématique de la traduction révélatrice de sa double appartenance culturelle.

Dans la première partie, les origines et l'évolution stylistiques de l'espace filmique de Jean Renoir, de 1926 à 1939, ont été étudiées à travers la relation à Griffith et dans le passage de la discontinuité du découpage (Nana) à un traitement global de l'espace par la profondeur de champ et le cadre mobile (de la chienne à la règle du jeu). La deuxième partie est consacrée à une approche psycho-esthétique du rôle des deux éléments naturels dominants dans l'espace filmique de Jean Renoir, l'eau et la terre. Au-delà de l'aspect réaliste de la création renoirienne, nous avons dégagé les éléments d'une fantasmatique latente, indirecte, discrète, nous inspirant à la fois de la thématique bachelardienne et de références freudiennes et jungiennes. La notion de thématique spatiale contribue à définir les significations de l'univers du cinéaste mais aussi certaines caractéristiques de son style. Dans la troisième partie, consacrée au principe renoirien du cadre dans le cadre, nous avons d'abord fait apparaitre l'espace construit en tant qu'espace psychique, les formes décoratives comme métaphores corporelles. L'autre aspect du cadre dans le cadre concerne son rôle dans les deux formes de la structure spectaculaire : le spectacle dans le spectacle (emboitement scénique et narratif; réversibilité du spectacle) et la scène métaphorique (théâtralité de l'espace filmique; spectacle du quotidien et scène sexuelle; théâtralité et violence). Dans la quatrième partie, l'objet esthétique de notre curiosité est d'examiner les rapports entre les représentations sociales de Renoir et les formes filmiques (les structures spatiales en particulier) à travers trois aspects: la théâtralité (le théâtre des apparences sociales, l'extension du cadre théâtral et l'éclatement du cadre social); la division sociale de l'espace (relations topographiques de certains décors); la dialectique de l'espace fermé et de l'espace ouvert (synonymes d'oppression et de libération)
In the first part, the origins and the development of the style of space in Renoir's films, from 1926 to 1939, are examined by studying his relationship to Griffith and the transition from isolated shots (nana) to a complete treatment of space (depth of focus and mobile framing, from la chienne to la regle du jeu). The second part is devoted to a psycho-aesthetic approach of the part played in Renoir's film space by two predominant natural elements, water and earth. Although Renoir's creation is eminently realistic, we have managed to trace the existence of a latent set of phantasms with reference to Bachelard's wellknown terminology as well as Freud's and jung's theories. The notion of space as a theme allows us to define the significance of the Renoir's world as well as some salient characteristics of his style. In the third part, devoted to Renoir's principle of framing within the frame, we have shown, from the start, the built scenery as psychic space, the forms of the setting as corporeal metaphors. A further aspect of framing within the frame concerns the part this device plays in the two forms of the structure of the show : the show within the show (scenic and narrative concatenation; reversibility of what is being shown) and the metaphoric scene (theatricality of film space; scenes taken from everyday life and sexual scene; theatricality and violence). In the fourth part, we turn to an examination of the relationship between Renoir's representations of society and the film forms (mainly spacial structures) by considering three aspects: the theatricality (the theatre of social appearences, the extension of the theatrical outlook and the shattering of the social framework); the social fragmentation of space (topographical relationship of some sets of scenery); the dialectics of closed open space (synonymous for oppression and liberation)

Jean Cocteau, poète aux écritures multiples, intègre très tôt l'art chorégraphique dans sa création poétique. Ainsi, réalités quotidiennes sublimées, décalages rythmiques, figures emblématiques et autres thèmes ou motifs récurrents se répondent de poésies en ballets. Cette interaction danse poésie a un retentissement certain dans son oeuvre, lui assurant une profonde cohésion. La poésie devient chez Cocteau une force vitale imprégnant le monde, force que seul le poète medium peut capter. Puisant aux diverses sources du mysticisme, jean Cocteau développe une vision d'un univers pluridimensionnel de mondes emboîtés à l'infini, abolissant toute notion de temps, simple reflet de l'emboîtement des espaces. Hésitant entre secret et explications, l'attitude paradoxale de Cocteau déroute la critique et donne naissance a de nombreux malentendus. Cocteau, fascine par la création chorégraphique, perpétue pourtant à sa manière une tradition française du ballet théâtre. A son exemple d'autres écrivains (Claudel, Cendrars, Picabia, Valery, Gide) vont tenter l'aventure et ce mouvement, particulièrement manifeste dans l'entre-deux guerres ravive les questionnements sur la relation entre danse et poésie et sur la pureté en art
Jean Cocteau, poet with numerous types of writing, very early integrated choregraphic art into his poetic creation. That way sublimated daily reality, symbolic characters and many other recurrent themes and patterns can be found again and again both in his poems and ballets. This interaction between poetry and dance had definite repercussions in his works leading to a deep cohesion. Poetry became in Cocteau's works a strength that filled the whole world and that only the poet as a medium could fully grasp. Drawing from the various sources of mysticism, Cocteau develops a view of a 'pluridimensional' universe made of worlds that endlessly fit together, abolishing the concept of time, reflecting merely the interlocking of space. Vacillating between secrecy and explanations, Cocteau's paradoxical choices dismayed the critics and gave birth to many misunderstandings. And yet in his own way Cocteau, fascinated by the choregraphic creation, carried on the French traditions of 'ballet-theatre'. Following his example, other writers (Claudel, Cendrars, Picabia, Valery, Gide) tried the adventure and this movement which was most patent between the two wars reopens the debate on the relation between dance and poetry and on the purity in art

Ce travail comporte une etude des deux premieres oeuvres de jean genet. Notre-damedes-fleurs et miracle de la rose, contenant, a notre avis, la genese et la legende de l7ecrivain. Il s'attache a l'etude de l'alchimie qui consiste a dissoudre et a recomposer l'object d'une origine et d'une appartenance, et cela en trois points. Le premier analyse les differents effets de la mise en scene de l'acte d'ecriture a partir d'une cellule carcerale. Le deuxieme s'attache a la structure du recit en tant que "miroir" de la structure imaginaire de l'auteur. Le troisieme etudie la "conversion" esthetique de l'abjection a travers les enjeux litteraire et linguistiques. Lieu de l'engendrement d'un sujet de l'ecriture. Ces oeuvres enregistrent la naissance d'un ecrivain. En lui donnant une filiation litteraire, elles vont inscrire jean genet dans le monde social et symbolique
This essay involves a study of the two first works of jean genet which include, we believe, the work's genesis and the author legend. It studies, in three points, the alchemy consisting in dissolving and recombining, through an esthetical elaboration, the abject of an origine and of a belonging. The first point analyses the different effects of directing the writing act from a prison cell. The second point keeps close to the structure of the "miror" tale, of the writer's imaginary structure. The third point studies the esthetical "conversion" of the abject through the litterary and linguistic stakes. Place of the begetting of a writing subject, these works register the birth of a writer. While giving him a litterary filiation, they are registering him in the symbolical world

La decouverte de documents aux archives nationales nous a permis de restituer le contexte socio-historique de la derniere tragedie lyrique de j. Ph. Rameau : les boreades. Nous pouvons proposer actullement une datation de l'oeuvre grace a l'etat des copies de durand (1763) et enfin comprendre le systeme du travail des copistes et l'organisation materielle des repetitions. Concernant la non representation des boreades nous defendons l'hypothese d'une cabale et non d'une fatalite. Apres avoir attribue a louis de cahusac la paternite du livret, nous avons insiste sur l'aspect subversif du texte en regard de la politique et sur la presence d'elements francs-maconniques. L'analyse du fond et de la forme de l'oeuvre a demontre un debut de rupture avec la tradition baroque. La dramaturgie et la macro-structure de l'oeuvre prouvent une conception de l'"ensemble dramatique" en tant que tout et non d'une compilation d'episodes musicaux. Le langage de rameau dans les boreades, s'il reste lie au baroque, annonce une nouvelle esthetique dont les prolongements iront au-dela du classicisme
Documents discovered at the archives nationales have made it possible for us to throw light on the socio-historical context of the last tragedie lyrique by jean-philippe rameau : les boreades. We are now able to date the work, thanks to the invoice of copyist durand (1763) and to resolve some of the questions concerning the number of musicians involved;we can even understand the method used by the copyists and the way the rehearsals were organised. As to the reason why les boreades was not perfomed in public, we support the hypothesis that this was due to a cabal rather than mere accident. We have attributed the libretto to louis de cahusac; we have also underlined the political aspect of the text and its masonic overtones. An analysis of the formal structure and musical language of the work clearly demonstrates the beginings of a break with baroque tradition. The dramaturgy and the overall structure of les boreades how that the work was definitly conceived as a whole and not as a compilation of short peaces. Rameau's language in his last work, while remaining linked to the baroque, prefigures the new aesthetic with consequences which reach beyond the classical style

Les pieces comiques de rotrou se situent a une epoque interessante de l'histoire de la comedie. Car au debut du dix-septieme siecle, la comedie se cherchait un statut en tant que genre litteraire. Nous avons etudie en detail ses comedies, en essayant d'en demontrer l'art dramatique. Nous avons considere la conception du comique et de la comedie de rotrou. De meme, nous avons essaye de comprendre l'etablissement du genre de la comedie francaise au debut du dix-septieme siecle. Notre travail se constitue en cinq parties : les adaptations et les influences, la structure, les themes, les personnages et le langage dramatique
The comedy of jean rotrou play an important part in the history of french comedy. Because, in the beginning of seventeenth century, the french comedy was established as one of the genres of litterature. In that point of view, we tried to understand the conception of comic and the comedy of jean rotrou. Also, we tried to clarify the role played by rotrou in the history of french comedy. Our study is constituted by five parts : the adaptation and the influence, the structure, the themes, the characters and the dramatic language

Tout en s'inscrivant dans le cadre du conformisme théâtral, la dramaturgie de Jean Anouilh est pourtant toute personnelle : l'auteur a établi sa propre direction et créé un système dramaturgique totalement original. Anouilh présente dans son théâtre une impressionnante quantité de personnages qui appartiennent à des types a fonctions permanentes, facilement reconnaissables de par leurs traits caractéristiques. De plus, ses personnages-types, appropries a sa conception de la vie réapparaissent périodiquement à travers tout son théâtre. Quant aux structures interne et externe des pièces, Anouilh refuse l'attitude rigoureuse vis-à-vis de la construction de la pièce et l'absolutisme du théâtre réalisé insistant sur "l'illusion". En vue de la représentation scénique, Anouilh tire parti de tous les éléments de la mise en scène pour créer une atmosphère propre à l'action dramatique. Sur le plan technique, son théâtre fait preuve d'une virtuosité indéniable : l'auteur sait recourir efficacement à tous les artifices théâtraux et à tous les procédés dramaturgiques. A travers ses activités et produits théâtraux, Jean Anouilh propose, dans l'histoire du théâtre français, de nouvelles voies qui s'orientent vers les dramaturgies modernes
Although lying within the scope of the theatrical conformity, the dramaturgy of Jean Anouilh is most personal: he discovered his proper way and created an original dramatic system. Anouilh presents in his theatre the numerous characters belonging to the types with permanent functions, easily recognizable by their characteristics. The characters of Anouilh, appropriate to his conception of the life, reappear periodically through all his plays. As for the inner and outer structure of his theatre, Anouilh rejects the firm standpoint towards the form of the plays, and the absolutism of the realist theatre emphasizing illusion. With the view of the performance, Anouilh takes advantage of all the elements of the production in order to create a suitable atmosphere of a dramatic action. On the technical plan, the theatre of Anouilh shows an undeniable virtuosity. He has recourse to all the theatrical devices and dramatic processes. Through his theatrical activities and plays, Anouilh proposes, in the history of the French theatre, new ways turning towards the modern dramaturgy

L'univers poetique de jean cocteau regroupe plusieurs mondes qui s'entre-penetrent et se completent. L'enfance y joue un role primordial car s'y melent etroitement la famille, la nature, les animaux et la feerie. L'amour, decouvert lors de l'adolescence, devient tres vite ambigu et sombre dans un pessimisme qui ne mene qu'a la mort. La poesie, moyen de s'exprimer, reflete l'envers de la vie, la mort et l'amour, et se manifeste a travers les dieux et le miroir. La creation contraint le poete a se concentrer dans la solitude et a connaitre les affres d'un veritable accouchement. Ces divers elements se fondent pour engendrer un monde circulaire ou tout vit en perpetuelle mutation. L'originalite qui en decoule fait apparaitre -si besoin etaitl'extraordinaire singularite de son createur
Jean cocteau's poetical world refers to several elements which melt together and give birth to one single entity. Childhood plays a prominent part with family, nature, animals and enchantment. Love, early discovered, gets quickly ambiguous and falls into pessimism leading to death. Poetry embodies life reverse, death and love through gods and the mirror. With creation, the poet has to retire within himself in solitude and suffer a real delivery. Those different aspects show-if necessary- the author's extraordinary singularity

Jean Lorrain est un écrivain de la fin du dix-neuvième siècle. Chroniqueur dans de nombreux journaux, il fréquente de très près les milieux et personnalités culturels de cette fin-de-siècle; il est de ce fait, en contact avec la production artistique de son temps, fréquentant les salons, les lieux d'exposition et les artistes eux-mêmes. Il a une approche bien particulière de l'œuvre d'art, livrant à ses lecteurs une image quelque peu gauchie de celle-ci. Une appréhension d'esthète raffiné, sensible à l'originalité d'un faire ou à la rareté d'un objet se mélange chez lui à la recherche de caractères suggestifs, propres à le faire rêver. L'œuvre doit servir de tremplin à ses rêves, qu'il pourra ensuite développer dans ses écrits fictionnels par l'intermédiaire d'un héros. Le roman développe ce que contient en germe la chronique et toujours l'identité de l'œuvre comme les règles classiques d'écriture disparaissent au profit du déroulement ininterrompu de la conscience du narrateur. La chronique devient une rêverie sur l'œuvre et le roman l'introspection d'un héros à la recherche de lui-même. Ce héros est à l'image de Jean Lorrain, perdu entre ses contradictions de chroniqueur mordant et d'homme trop sensible. Cherchant l'amour dans les bouges et la beauté dans la souffrance, l'écrivain livre une œuvre originale et excessive, dans laquelle l'œuvre d'art sert d'échappatoire à un monde jugé insatisfaisant et de miroir par la conscience des suggestions qu'elle peut provoquer chez lui. L'étude de son appréhension par Lorrain permet de mieux cerner son univers obsessionnel interne et de mieux comprendre les tenants d'une écriture à la rhétorique et aux thèmes déconcertants
Jean Lorrain is a writer working at the end of the nineteenth century. As a regular contributor to a number of newspapers he moves in the cultural circles of this "fin-de-siècle" era. Thus he is in contact with the artistic production of his time, frequenting salons, exhibitions and the artists themselves. He has a very distinctive approach to the work of art, giving his readers a somewhat distorted image of it. He combines the apprehension of a refined aesthete, sensitive to originality and rarity, with the search for appropriate characters to make him dream. A work of art must serve as a launching pad for his dreams which he can develop in his fictional writing, with a hero as intermediary. His novels develop the seeds contained in his articles. The identity of the work and the classical rules of literature always disappear to be replaced by the continuous unfolding of the narrator's consciousness. The article is thus a musing on the work of art and the novel the introspection of a hero in search of himself. This hero represents Jean Lorrain, lost between his contradictory roles as a scathing critic and an over sensitive man. Looking for love in down and out places and for beauty in suffering, the writer produces an original and extreme work, in which the work of art serves as an escape route from an unsatisfying world and as a mirror for the narrator's consciousness. The study of his apprehension allows us to define more clearly the obsessional world of the writer and to understand better the various aspects of writing with such disconcerting rhetoric and themes