Rozprawy doktorskie na temat „L'écriture”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „L'écriture”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Fialip, Baratte Martine. "L'écriture avant l'écriture, discours d'enfants de maternelle". Lille 3, 2003. http://www.theses.fr/2003LIL30023.
Pełny tekst źródłaWhen entering nursery school, chidren generally have an opinion on writing. They cannot handwrite yet, they still have not started learning properly but they have a mental image of writing in mind. This representation have been built over their years of nursery school (and before), through their connections to writing. It will be modified by training and practices, it will evolve differently from one child to another. But whether they will succeed or not to fit in the writing world seems to be directly connected with the representations they have in mind when entering infant school
Urro, Marie-Hélène. "Kim Thúy : de l'écriture migrante à l'écriture transculturelle". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31191.
Pełny tekst źródłaBāo, Chén. "Écrire l'idée [Xie Yi] : entre l'écriture idéographique et l'écriture architecturale". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00736206.
Pełny tekst źródłaSirois, Mich. "L'évolution de l'écriture". Master's thesis, Université Laval, 1986. http://hdl.handle.net/20.500.11794/29125.
Pełny tekst źródłaCorreale, Anna. "L'écriture du silence". Nice, 2002. http://www.theses.fr/2002NICE2006.
Pełny tekst źródłaWiel, Véronique. "L'écriture de Malebranche". Paris 4, 2003. http://www.theses.fr/2003PA040009.
Pełny tekst źródłaMalebranche was a man with a peculiar paradox. His radical stands led some people to consider him as one of the fiercest denigrators of rhetoric. Malebranche's style and his highly rhetorical writing won him widespread praise, from his admirers as well as from his opponents. Therefore it would be proper first to show the christian philosopher's criticism of rhetoric and throw a light on what motivated it. It might thus be realised that Malebranche, as a writer whose works were wholly devoted to the reader's conversion to his " Interior Master " took advantage of the force of rhetoric. The second part of this study consists in observing Malebranche seeking some " charitable rhetoric " that may be the " cause occasionnelle " of such a conversion. Malebranche's litterary bet, his opting for the twists and turns of fiction, in opposition to any dogmatism may finally be highlighted. Malebranche didn't however entirely keep under control that clever fiction whose ultimate goal was to lead the reader to detach himself from any human speeches so as to surrender to the voice of his Interior Master
Foeillet, Mariane. "J. B. Pontalis : de l'écriture de cas à l'écriture de soi". Paris 7, 2005. http://www.theses.fr/2005PA070056.
Pełny tekst źródłaZarai, Mehdi. "L'écriture du pouvoir et le pouvoir de l'écriture dans la littérature québécoise". Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00759986.
Pełny tekst źródłaCuesta, Almazán Maria del Carmen. "El Cristo de Velázquez de Miguel de Unamuno : de l'Écriture à l'écriture". Paris 4, 2001. http://www.theses.fr/2001PA040031.
Pełny tekst źródłaBourgain, Dominique. "Discours sur l'écriture : analyse des représentations sociales de l'écriture en milieu professionnel". Besançon, 1988. http://www.theses.fr/1988BESA1010.
Pełny tekst źródłaLukajic, Radana. "L'écriture de l'histoire et l'écriture de soi dans l'oeuvre de Marguerite Yourcenar". Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2031.
Pełny tekst źródłaIn our paper, we suggest two planes of the examination of Marguerite Yourcenar’s major novels: on the one hand, her novels are seen as a form of a narrative indistinguishably associated with a mythic vision of the world; on the other hand, they are seen as the writing of the self, utterly defined by the concepts based on Buddhism that denounce the illusion of ‘’I’’ and substantially leave out the notion of identity. Having stated this, we endeavor to show that the autobiographical writing of the author in question becomes greatly problematized as it is being misinterpreted as a heterobiographic piece of writing. We have also tried to clear out some uncertainties about themes and narrative procedures which are the basis of generic fluctuations of Marguerite Yourcenar’s novels
Perrotin, Catherine. "Plaidoyer pour l'écriture fragmentaire". Lyon 3, 1987. http://www.theses.fr/1987LYO31015.
Pełny tekst źródłaOur interest in fragmental writing stems from the fact that we believe it to be a form of writing particularly adapted to the transformations in mental outlook of modern times. It seems to us that fragmental writing occupies a unique place at the heart of the rapid expansion of the audio-visual means of communication, seeking, as it does, to give an account of the real, while respecting the discontinuity of experience, and while questioning its meaning. Through its magnetic force, its concentrated content, its reduced number of propositions as much as through the breaks that occur, the vivacity of this form of writing makes it apt to grasp the vitality of the moment. Throughout this research we have relied principally for support on the work of roland barthes. This author has contribued to a renewal in the understanding of the text, showing that writing is intimately allied with desire and pleasure. We have striven to put forward the multiplicity of criteria which allow the appreciation of the text in the plurality of its dimensions, thus favouring the unfolding of the significance. The opening up of this new perspective has upset the stereotyped roles. Henceforth both writer and reader contribute to the making of the text. Traversed by the writing, they undertake a voyage of co-creation. Amongst the fragmental form-types, we have applied ourselves to the study of the "haiku" and the fragment, and we have indicated the risks and the limits that the wager of the journal, the danger of the maxim and the originality of the commentary may involve. It has been our intention to demonstrate how fragmental writing, favouring as it does the position of the investigator, invites everyone to put himself in a situation of active participation in relation to his environment. A useful form of dynamism in our times
Mbanga, Anatole. "Systèmes d'interaction dans l'écriture". Nice, 1994. http://www.theses.fr/1994NICE2023.
Pełny tekst źródłaThe different methods of style taking part in textual construction are the fondations of interaction characterizing Labou Tansi's writing. This dissentient writing reveals interferences between oral style and literary language particulary in written narrative discourse. Several grammatical aspects are analized: various uses of negative sentences, anacoluthon structure, elliptic's forms and a jumble of expressions and different structures on the lexical and syntaxical level. The growing oral's influence participates in giving free vent to a transgression of language, prody and word fantasy. The use of "congolismes" and other tropical african images contribute to the africanization of the author's style. Dialogue and intertextuality are the gist of Labou Tansi's stylistic matrix. Novel, drama and poetry characterize this writing which is based on the thematic of politic power, society, man, the arbitrary, the absurd and violence. The satiric expression constitutes an integral part of a unique esthetic. This writing has many characteristic s : splited, ambivalent, polyphonic and polysemic. It is based on a multiform contestation. Its originality is founded on recreation and intermingling of languages
Le, Cornec Joëlle. "René Char : l'écriture fragmentaire". Rennes 2, 1990. http://www.theses.fr/1990REN20015.
Pełny tekst źródłaFragmentary writing may be considered as an aspect of Charier abstruseness, whereas its elucidation has led to speak of the readibility of Char. A study of the fragment and its established shows that Charier writing, rather than adopting these, in the invention of a form - a writing based on its ruptures and blanks. The second part deals with the way of constructing the meaning. The fragmental here is understood to be the principle of the breaking up. He discovers the creative energy of form, slipt up by the discontinuity, the blank-semantic and graphic - the ellipsis. The third, the imaginary of charier writing: a diairetic object of the image revealed by three mother-figures. A musing of the fragmentation delivers the three axes from imagination: the pulverized, the dislocated (the major and minor tones of the fragment) and the fragile. The architecture of the work however reveals two antinoma forms: the pulverized and the linking showing that the fragment finds a means of becoming connected, though in intratextuality. The metatextualite takes on also the function of cohesion
Carle-Brun, Évelyne. "Colette, chemins vers l'écriture". Paris 4, 1999. http://www.theses.fr/1999PA040156.
Pełny tekst źródłaLan, Hong Chun. "La vie et l'écriture de Ni Haishu, pionnier de l'écriture phonétique du chinois". Paris, EHESS, 1997. http://www.theses.fr/1996EHES0007.
Pełny tekst źródłaGuay, Michel. "L'écriture nomade essai et création". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0015/NQ47647.pdf.
Pełny tekst źródłaBolduc, Alexandra. "Cioran et l'écriture du fragment". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64133.pdf.
Pełny tekst źródłaBolduc, Alexandra. "Cioran et l'écriture du fragment". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30151.
Pełny tekst źródłaIn this perspective, the writing of the fragment may not be a deficiency, a collapsing or a fetichism of the part, but rather a matter of instinct, of experimentation that (re)totalizes as it is been written...like a victory over time and death, like a moment of eternity, like a fragment-trophy.
Veche, Bogdan. "Sylvie Germain : l'écriture de l'attente". Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2011. http://tel.archives-ouvertes.fr/tel-00917134.
Pełny tekst źródłaHombert, Isabelle. "L'écriture romanesque de Joseph Delteil". Paris 10, 1985. http://www.theses.fr/1985PA100282.
Pełny tekst źródłaAndré, Gaëtan. "Modélisation oscillatoire de l'écriture manuscrite". Toulouse 3, 2013. http://thesesups.ups-tlse.fr/2300/.
Pełny tekst źródłaIn this thesis, we propose an oscillatory model of handwritten production, called POMH, where handwriting is considered as the combination of movement of two oscillators. It derives from the classical Hollerbach model which has been simplified and symmetrized, allowing for a fast method of extraction of its parameters from recorded strokes. We compare this algorithm with a Newton-based optimization method in order to prove its efficiency. We show that POMH is as good as the widespread Edelman-Flash model, in terms of accuracy at reproducing simple shapes. Then, it is successfully applied to more complicated handwritten strokes such as entire sentences or Chinese characters. In a second time, we aim at explaining the correlations between these two oscillators. In that purpose, we study their relative phase, based on the dynamical approach of motor coordination. We try to answer these two questions : (i) Is there, like it is the case in the drawing of ellipses, preferred coordinations in the handwriting movement ? (ii) What are the links between handwriting speed and the geometry of the produced trace ? In order to answer the first question, two experiments have been conducted. The first aims at validating the continuous relative phase computation on real handwriting; the second studies the possible existence of preferred coordination patterns in the handwriting task. To begin to answer the second question, we propose two hypotheses and two experiments that would allow to validate them. In a last effort, based on the interactivist theory, we propose a simplified model of off-line handwriting recognition, using the idea that reading and handwriting share a lot of their mechanisms. We first begin by a search, in the literature, for evidence of the links between perception and action for all modalities, particularly regarding handwriting. We then propose two algorithms implementing handwriting perception as an inner simulation. The first uses POMH as an internal representation of characters; the second is based on the concept of "temporalized images" and gives better results
Duteil, Marylène. "Auschwitz : du témoignage à l'écriture". Paris 4, 1999. http://www.theses.fr/1998PA040160.
Pełny tekst źródłaBlaoui, Abderrahim. "Abdelkebir Khatibi : poétique de l'écriture". Paris 4, 1999. http://www.theses.fr/1998PA040278.
Pełny tekst źródłaA. Khatibi's novelistic writing is essentially poetical. Above all, the text reflects the author's work on words. It is the aesthetic dimension, which determines its referential function and not the contrary. Indeed, in “La mémoire tatouée”, Khatibi alters the classical form of autobiography and the ideology it implies. This deep change occurs through the use of nominal metaphors, the parodies of totalitarian discourses and the relations between the narrator and the narrative. The process is developed in “Le livre du sang” in which, muslim mysticism is re-used as an inter-text to denounce the unsaid it represses - sex, relation with the other. Muslim mysticism also structures the narrator's discourse through the metaphors of love and death, which announce “Amour bilingue”. In that novel, the narrator is torn apart between his mother tongue - dedicated to absence - and French which is the beloved's language as well as it embodies the act of writing. This situation reaches its climax mainly through the three major metaphors of the text - "bilangue", the incommunicable, the visible. But these latter also favor the opening of the narrative towards a more optimistic appearance. In his travel story entitled “Un été à Stockholm”, the author's concern about the construction of a fictive universe thus becomes more visible. The relations with the reader are also more entertaining. In “Triptyque de Rabat”, the neutrality of the story is obvious despite the author's intrusions and his resort to the discourse of magic - metaphor of the magic falcon - which continually question the notion of realistic illusion. These analyses show that what determines poetics in Khatibi's writing is the transition from discourse to narrative: each of his novels plays on the unequal presence of the two, with a specific aim. But with “Amour bilingue” a change occurs. The writing topic aims at building a fictive universe, which should be more and more distant, objective, and therefore far from its usual concerns - identity, difference, bilingualism. In other words, if Khatibi's first three novels are marked for a more or less masked autobiographical dimension, his last two novels convey a desire to build up more neutral and open fictive universes
Susini-Anastopoulos, Françoise. "L'écriture fragmentaire (définitions et enjeux)". Paris 3, 1993. http://www.theses.fr/1994PA030027.
Pełny tekst źródłaThis research of comparative literature intends to study the different definitions of the "fragment" and to show the most important stakes of textual fragmentation and discontinuity
Haas, Ghislaine. "Exploration sémiotique de l'écriture mériméenne". Besançon, 1988. http://www.theses.fr/1988BESA1005.
Pełny tekst źródłaAteşöz-Dorge, Bengi. "L'écriture chorégraphique de Dominique Bagouet". Mulhouse, 2012. http://www.theses.fr/2012MULH5073.
Pełny tekst źródłaDominique Bagouet, french choregrapher, died in 1992 at the age of 41. Following on this premature death, the dancers of the Company Bagouet took the decision to continue dancing his choreographies and so to pass them on to following generations. To this end they founded the Association “les Carnets Bagouet” (The Bagouet Notebooks). Within this context of exchanges between the past and present, this work seeks to define the specificities of Dominique Bagouet’s choreographic writing. What is clearly shown is that his writing is to be analyzed on 3 levels: a choreographic universe, a choreographic gesture and transmission of the dance. Based on the experience of the “Carnets Bagouet”, this present work seeks to reveal the existence of the idea of transmission at the heart of Dominique Bagouet’s writing, this becoming an essential characteristic of his writing. Finally, what also appears is that the intimate being of the choreographer is the source of a writing whose purpose is to liberate those who dance it. Fundamentally, the matter of all writing is concerned with transmission and thus with the question of relationship. Ultimately we arrived at the theorization of choreographic writing whose point of departure is the self which strives to renew and recreate the links from which this self is formed
Rossignot, Olivier. "Petrus Borel, l'écriture du mal". Paris 4, 2000. http://www.theses.fr/2000PA040029.
Pełny tekst źródłaMaltais, Claire. "L'écriture chez les lecteurs précoces". Master's thesis, Université Laval, 1986. http://hdl.handle.net/20.500.11794/29145.
Pełny tekst źródłaPardon, Simone. "L'écriture picturale de Dashiell Hammett". Orleans, 1997. http://www.theses.fr/2002ORLE1046.
Pełny tekst źródłaDashiell Hammett, who wrote 5 novels and numerous short stories, is best-known for the new and seminal form he gave to the American detective fiction: the "hard-boiled" style. Between 1923 and 1934, he used his personal professional experience as a detective for the Pinkerton agency and his knowledge of the contemporary mediasphere to give both literature and cinema stories which met with great success in the public. His literary ambition and the pictorial quality of his expression are not so well known, although it is possible to see in his participation of a comic strip, "Secret Agent X-9", a confirmation of his inclination towards such a style of expression. This thesis aims at showing the aesthetic means through which Hammett built his narration and portrayed the characters: a pictorial quality for a dynamic, poetic language, to show space and time and human condition, to draw out men in search of an identity in urban America in the 30's. There he sets the action of a particular man, the "Private Eye", who has become, thanks to him, the mythical hero of modern times fighting Evil in the name of Good, the latest version of the heroes ans demigods who enact again and again the private dramas and the conflicts of human societies the trace of which can be found in primitive art as well as in modern painting
Limet, Yun Sun. "L'écriture critique de Maurice Blanchot". Paris 8, 1997. https://octaviana.fr/document/181449196#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaWe elaborate the notion of "critical writing" in blanchot's non fictional work. This notion is important, not only because these writings are critical, but also because criticism should be understood as central to writing as such. We have restricted our corpus to the non fictional writings. These writings think literary criticism as a "relation" fondamentaly defined by its impossibility. Analysing blanchot's practice of literary criticism, we find that this "relation" is paradoxically possible in a "critical writing". The critical dimension comes from the self questioning of blanchot's critical writings on criticism. But the autoreflexive gesture is not only a solipsist movement it is open to a specific temporality that we call the "time of criticism". This time signifies that writing is a process within which reading is defered and always put off in re-writing. The mean of that "defering time" is the other critics texts taken as a mediation to the text, and also, the "ressassement" through which blanchot, repeatingly, focuses on and displaces the same figures, problematics and privileged authors. This specific time of critical writing shows an evolution in blanchot's non fictional work aswell. When blanchot writes in fragments it is a moment which may be seen as a crisis and, at the same time, a renewal of the critical relation. What is at stake in that moment? the reconstitution, trough the ordeal of disaster, of the subject of writing which has been broken up. In that recovery of the subject, the self can only be thought in relation with the other. The relation with the other was inscribed from the beginning in the critical relation and its paradox should be understood according to blanchot's thinking of friendship an community : a relation that does not relate. This is the signification of the torment which inhabitates his critical writings. The impossibility of beeing in relation is sustained in the writing of/to the other writer
Giannetti, Valeria. "L'écriture comique chez Vitaliano Brancati". Paris 3, 1999. http://www.theses.fr/1999PA030053.
Pełny tekst źródłaThis research consists in a thorough reading of the sicilian writer's work. This work, encloses several novels, stories, theatrical writings, articles and essays, is studied from the perspective of poetics intending to account for brancati's actual practice of writing by illumating the comic motive which underwrites his work from 1934 on. The comic, as opposed to satire, irony, humor, does not consitute either a litterary genre as such, nor a determinate figure of discourse. It permates all genres and invests them with a visibility intention. Brancati uses the comic as a toll for narrative persicuoussness. The prupose of the present study is to explain the principals of the ways brancati broaches his specific poetical enterprise
Monier, Pierre. "L'écriture cinématographique de Luchino Visconti". Toulouse 2, 1991. http://www.theses.fr/1991TOU20027.
Pełny tekst źródłaWhy visconti's film work has been told literary? a preliminary comparison between cinema and literature reveals on the one hand the literary or even anti-cinematographic features of the viscontian cinema. On the other hand, the directo's films, balancing between visconti the narrator and visconti the aesthete, obey to a specificaly literary dialectic in witch verghian narrative and proustian discourse meet each other
Tononi, Daniela. "L'écriture énigmatique : le policier oulipien". Paris 8, 2007. http://www.theses.fr/2007PA082765.
Pełny tekst źródłaAdvocating the concept of the comprehensiveness of literature, which abolishes the rigid hierarchy of genres, the Oulipians create, by inexhaustibly exploring symbiotically combined genres, literary works where contamination turns to productive process. Among the examined genres, the detective story best lends itself to exploration and innovation. The oulipian novel, with its strong innate and deep-rooted enigmatic structure, coinciding with the imposition of a contrainte, includes the detective story as a flexible genre which suits a process of complicating and innovating the enigma. As far as the oulipian writing is concerned, the construction of the enigma derives from the imposition of the constraints and involves the formal level or the semantic level or both. In the latter case, the contrainte and the enigma undergo a process of metatextualization, thus influencing the tale development. The works by Raymond Queneau, Georges Perec, Jacques Roubaud, Marcel Bénabou, Italo Calvino as well as the texts collected in the B. O. Therefore represent the loci where the impure detective story - transforming reading into hermeneutic aberration - can be experimented
Basri, Aïcha El. "L'écriture carcérale de Jean Genet". Chambéry, 1996. http://www.theses.fr/1996CHAML003.
Pełny tekst źródłaThe work of Jean Genet is analysed here in the light of the poetic of the imaginary : description of passage movements of the real prison to the imaginary prison through the metamorphosis of space and the report to the time. Space and time are submitted to centripetal forces (reduction, retraction, descent. . . ) in hillock to centrifugal forces (expansion, ascension. . . ) to the point of rupture between the inside and the outside, the closed and the open, the visible and the invisible, the infinity of the time and the fugacity of the moment. In this experience of limits, all competes with the construction of an imaginary refuge. The body appears as one of the ultimate refuge, cosmos-theater of all these movements. Similarly, the space of the text, in his syntactic arrangement, is wrought by all these movements. From the dynamics of this writing that all spaces, in their contraction, borrow their motives from the prison. That is as well as the being of Genet forges his clean identity of prison life in the confinement of the refuge
Alric, Pierre. "L'écriture poétique de José Cruset". Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20009.
Pełny tekst źródłaPorteau, Bernard. "La voix : organe de l'écriture". Paris 10, 1999. http://www.theses.fr/1999PA100189.
Pełny tekst źródłaVoice sounds in space but takes place in time. Music is an art of time even if wroten in space. Voice causes effects on bodies (Sufi) and souls. Through a few poetic experiences we can see how voice and writing are bounded together and the result is the body which is a special relationship between time and space
Le, Roux Yves. "Pédagogie de l'écriture et éducation psychomotrice : apport de la psychomotricité au fondement d'une pédagogie de l'écriture". Lyon 2, 2002. http://theses.univ-lyon2.fr/documents/lyon2/2002/leroux_y.
Pełny tekst źródłaThe teaching of handwriting is currently in crisis. Children experiencing difficulties in learning to write may be taken to a psychomotor therapist. However psychomotor practice is not simply a paramedical profession; it also offers educational benefits which have been developing in schools since 1960. It can therefore apply to handwriting in a therapeutic context, but also in an educational one. The question of using therapeutic means in teaching is thus raised. But the aim of this study is mainly to investigate the specific contribution of psychomotor practice to the active teaching of handwriting. A definition of the crisis faced in the teaching of handwriting is proposed first of all, considering the context of its development and the manuals that have been published. These manuals clearly highlight the problem by their inconsistencies, even though their aim is to solve it. I shall go on to analyse French investigation works on the learning and teaching of handwriting. Some of these studies have been written by pioneers of therapeutic psychomotor practice. I shall also consider how this practice can remedy to handwriting problems. I shall then present the educational psychomotor practice used in primary schools, first in a general manner and then focusing more specifically on its contribution to the teaching of handwriting. This investigation will lead to suggestions for the psychomotor teaching of handwriting, in the context of more psychomotor global teaching, which would therefore take the body dimension into account
Chauchix, Cheikrouhou Danièle. "L'écriture des femmes de lettres maghrébines d'expression française en comparaison avec l'écriture africaine de Doris Lessing". Rennes 2, 1985. http://www.theses.fr/1985REN20008.
Pełny tekst źródłasallagoïty, isabelle. "Dynamique de coordination spontanée de l'écriture". Phd thesis, Université Paul Sabatier - Toulouse III, 2004. http://tel.archives-ouvertes.fr/tel-00008545.
Pełny tekst źródłaNeuman, Yishaï. "L'influence de l'écriture sur la langue". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030189.
Pełny tekst źródłaThe study of writing and language as semiotic codes in contact should have logically followed from the Saussurian statement: “Language and writing are two distinct systems of signs”. On the same theoretical basis as that of contact linguistics, the contact between language and writing might be conducive to mutual semiotic transfer. The acquisition of writing induces a radical cognitive change and the emergence of writing within a linguistic community modifies its organisation. The greater physical force of the visual stimulus as against aural stimulus and the high prestige gained by the mastery of writing are the cognitive and social factors that favour semiotic transfer from writing to language. With regard to lexicon, a writing tradition accompanied by an orthoepy [rules of reading aloud] provides the language with words from afar in place and in time, like learned words from classical tongues and graphic loanwords between languages whose linguistic communities are not in direct contact. Graphemic words with no linguistic provenance are also vernacularised, like the lexicalisation of abbreviations. The vernacularisation of written elements enriches language. A particularly extreme case of vernacularised written sources is that of the emergence of spoken Modern Hebrew – literary non vernacular Hebrew of early 20th century being its main source. On the phonological level, orthoepy may modify phonology, as can be shown by the emergence of consonantal clusters in French and of - et #952;- in author in English. On the semantic level, writing may be the source of the reorganisation of the signifiés based on spelling; numerous figures of speech are inspired by the attributes of writing
Dupuis, Gilles. "Jacques Poulin : une dynamique de l'écriture". Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5889.
Pełny tekst źródłaPinet, Svetlana. "Exploration cognitive de l'écriture au clavier". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3031/document.
Pełny tekst źródłaTyping has become a ubiquitous skill in our modern information societies. It constitutes an important language production modality and probably our preferred way to produce written language. Still its investigation is rather scarce. Understanding typing behavior pertains to several research domains such as language production, motor control and sequence programming. The aim of this thesis was to characterize linguistic and motor processing during typing. The methodology combined fine grained behavioral and electroencephalography (EEG) investigations.The first study aimed to assess the importance of linguistic processes during typing. It revealed a composite pattern of effects on response latencies, inter-keystroke intervals and accuracy rates. The second study assessed the reliability of an online platform to perform large-scale studies of typing skills. Then, three EEG studies aimed to characterize motor planning during typing and their putative interaction with linguistic processing. While linguistic processing was harder to trace with EEG, all three studies revealed a reliable pattern over motor cortices prior to the striking of the first keystroke of a word, interpreted as an index of motor preparation. The manipulation of effectors engaged in sequence production revealed versatile inhibitory processes dependent on the content of the sequence. The results are discussed in terms of linguistic and motor processes and their putative interactions during typed language production, contributing to the popular debate about information processing in cognitive science. This work provides novel data that pave the way to promising future investigations of typing
Lavoie, Natalie. "Les parents et l'apprentissage de l'écriture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/NQ54017.pdf.
Pełny tekst źródłaTrudel, Eric. "Edmond Jabès et l'écriture du fragment". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23740.
Pełny tekst źródłaRoy, Alain. "L'écriture minimaliste; suivi de Journée programmée". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59429.
Pełny tekst źródłaPăcurar-Leroux, Simona. "Giuseppe Berto et l'écriture de soi". Paris 3, 2003. http://www.theses.fr/2003PA030120.
Pełny tekst źródłaAfter the Second World War, the commitment of Italian authors to the public good put at a disadvantage autobiography and its private nature. It explains why the writer Giuseppe Berto had to develop various ways of expressing himself (diary, autobiographical novel. . . ) in order to fulfil his own writing needs as well as audience expectations. The text analysis of Il male oscuro as an analytical account is coupled with the study of the links between Berto and psychoanalysis (his theorapeutical process, his theoretical readings on the subject) and the situation of Il male oscuro among works influenced by psychoanalysis, from Svevo to Camon. With La cosa buffa, Berto found other new ways of the self-reflexive writing (narrative voice, reading convention, titles' fonctions). The diachronic analysis of the movement of the writing in the text and the study of documents with respect to the novel illustrate the self-reflexive writing, its genesis and its aims. The way Berto went from a first period of "collective" writing, linked to realism but rich of personal elements, to a writing he calls altruistic or, at least, humanistic, leads to show the whole range of Berto's writing and his originality in Italian literature
Mecheri, Lamia. "L'écriture de l'histoire chez Salim Bachi". Paris 8, 2014. http://octaviana.fr/document/181110571#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaSalim Bachi, a contemporary Algerian author, is one of the most promising writers of his generation. He has published five novels and two stories: "Le Chien d’Ulysse" (2001, Prix Goncourt du premier roman), "La Kahéna" (2003, Prix Tropiques), "Autoportrait avec Grenade" (2004), "Tuez-les tous" (2006), "Le Silence de Mahomet" (2008), "Le grand frère" (2010), "Amours et aventures de Sindbad le Marin" (2010) and "Moi, Khaled Kelkal" (2012), and a collection of short stories entitled "Les douze contes de minuit" (2007). With "Le Chien d’Ulysse", Salim Bachi became the chronicler of his country, recounting the history of Algeria during the black decade of the 90s. In other books, he focuses on important historical events affecting the whole world, such as the terrorist attacks of September 11, 2001. The purpose of our thesis is to analyze the different modalities (imaginary, stylistic, narrative) of the presence of History in the work of this author
Pommier, Gérard. "L'écriture comme solution dans la psychose". Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10017.
Pełny tekst źródłaManganaro, Jean-Paul. "Carlo Emilio Gadda et l'écriture baroque". Paris 3, 1992. http://www.theses.fr/1993PA030111.
Pełny tekst źródłaAfter having defined the historical notion of the baroque applied to contemporary literature, the study analyses sysytematically gadda's works. The racconto italiano and the meditazione milanese are the fondamental writing of gadda's critical and poetical elaboration, and open on the statement of the crisis in the literary manners and rules. This crisis, which is that of the naturalism, is the most important part of the critical interrogation that the author expresses against realism and real. It's out of the impossibility to maintain the real in a unique style as the novel that issue minor styles as the "tratti" that give punctual answers to gadda's aesthetic expression : the work, from the madonna dei filosofi to eros e praipo, is brought foward through the action of its own incompletion, its constant overflowing into digression, creating repetitive forms and leitmotiv to wich are connected the components of the inspiration in gadda's work, through a particular link to certain authors (are especially analysed the relations with leopardi and baudelaire, with caravaggio and manzoni). Gadda's writing in thus going through many creative periods that ideally help to repell the autobiographical process and more particulary death as it's lived and described by all the baroques