Lettre de femme, voix d’homme? Jeux identitaires et effets de travestissement dans la treizième épître familière d’Hélisenne de Crenne

La dernière des treize lettres familières qui forment le premier volet des Epistres familieres et invectives (1539) reste à ce jour la missive la plus difficile à interpréter du recueil d’Hélisenne de Crenne. Son caractère cryptique, la voix masculine qu’y fait entendre l’épistolière et la présence d’allusions amoureuses assurent un caractère singulier à ce texte dont le fonctionnement peut se comprendre — c’est l’hypothèse que propose cet article — comme le résultat d’un travestissement identitaire (une femme s’y exprime à la manière d’un homme), doublé d’un travestissement générique (la lettre familière cache une lettre d’amour). L’expression directe du désir amoureux ne semble possible, dans le recueil, que par ce jeu de travestissements où la rhétorique masque et dévoile tout à la fois, en établissant entre épistolière et destinataire une familiarité affective dont l’existence ne peut être révélée au lecteur que sur le mode du simulacre.

Définition du mécanisme de localisation des ARNm cen et ik2 aux centrosomes chez la Drosophile

L’organisation cellulaire repose sur une distribution organisée des macromolécules dans la cellule. Deux ARNm, cen et ik2, montrent une colocalisation parfaite aux centrosomes. Ces deux gènes font partie du même locus sur le chromosome 2L de Drosophila melanogaster et leur région 3’ non traduite (3’UTR) se chevauchent. Dans le mutant Cen, le transport de Ik2 est perturbé, mais dans le mutant Ik2, la localisation de cen n’est aucunement affectée. Ces résultats suggèrent que cen est le régulateur principal de la co-localisation de cen et ik2 aux centrosomes et que cette co-localisation se produit par un mécanisme impliquant la région complémentaire au niveau du 3’UTR des deux transcrits. La localisation de cen au niveau des centrosomes dans les cellules épithéliales de l’embryon est conservée dans différentes espèces de Drosophile : D. melanogater, D. simulans, D. virilis et D. mojavensis. Cependant, la localisation de ik2 n’est pas conservée dans D. virilis et D. mojavensis, deux espèces dont les gènes cen et ik2 sont dissociés dans le génome. Ces résultats suggèrent que la proximité de Cen et Ik2 dans le génome est importante afin d’avoir un événement de co-localisation de ces deux transcrits. J’ai généré différentes lignées de mouches transgéniques dans lesquelles un transgène contenant la séquence GFP fusionnée à différentes partie de Cen (partie codante, 3’UTR, Cod+3’UTR) qui sont sous le contrôle du promoteur UAS et qui sont gal4 inductibles. La région codante de l’ARNm cen était suffisante pour avoir un ciblage précis du transcrit aux centrosomes.

Entre théâtre et poésie : devenir intermédial du poème et dispositif théâtral au tournant des XXe et XXIe siècles

Thèse réalisée en cotutelle avec l'Institut d'Études théâtrales de l'Université Sorbonne nouvelle - Paris 3

Analyse de maillages surfaciques par construction et comparaison de modèles moyens et par décomposition par graphes s’appuyant sur les courbures discrètes : application à l’étude de la cornée humaine

Réalisé en cotutelle avec Aix Marseille Université.

De l'idéal au désenchantement : l'évolution du discours régionaliste chez Harry Bernard (1898-1979) de 1924 à 1951.

Il est généralement admis que le romancier et journaliste Harry Bernard (1898-1979) se rattache aux auteurs régionalistes dont les œuvres sont empreintes de l'idéologie clérico-nationaliste. Ce qu'on ne peut démentir, car les romans de Bernard ne sont en effet aucunement étrangers à un certain moule terroiriste, dictat incontournable de la production littéraire dans le Québec de la première moitié du XXe siècle. Son appartenance au mouvement régionaliste, considéré comme plus idéologique que littéraire, marquera si bien l’œuvre qu'elle s'en trouvera quasi ignorée par notre histoire littéraire. Il convient cependant de s'interroger à propos de cette place plutôt ingrate qu'elle occupe. Si ses premiers romans, L'homme tombé (1924) et La terre vivante (1925), sont en phase avec l'idéologie clérico-nationaliste, il en va autrement avec son dernier roman, Les jours sont longs (1951). Celui-ci présente un certain affranchissement de l'ordre moral catholique et une ouverture à davantage de réalisme, laissant entrevoir des transformations d'ordre identitaire, idéologique et symbolique, telles que le métissage, l'hybridation culturelle, les libertés individuelles, etc. Il s'agit donc d'analyser le déplacement discursif qui s'opère sur une période de 25 ans, des romans de jeunesse de Bernard jusqu'à un roman de maturité, démontrant ainsi que l’œuvre n'est pas que le reflet d'un unique paradigme identitaire, mais que, parallèlement à l'avènement de la modernité, elle donne à voir un discours en évolution.

L’esthétique loufoque chez Éric Chevillard (incongru, topoï, série)

Les récits d’Éric Chevillard appartiennent sans conteste à la catégorie des « fictions joueuses » décrites par Bruno Blanckeman (2002, p. 61) en ce qu’ils entretiennent un rapport ambigu avec la littérature, souvent détournée au moyen de la parodie, du pastiche ou d’une esthétique loufoque. Cet article propose un petit essai de typologie du loufoque chez Éric Chevillard au travers de trois œuvres, « Du hérisson » (2002), « Le vaillant petit tailleur » (2003) et « Oreille rouge » (2005), dans lesquelles on identifie cette pratique du détournement générique. Il met ainsi en évidence trois traits majeurs du loufoque : l’incongru, le détournement des topoï et l’écriture sérielle. [...]

Série tirée des essais de mise en commun de termes en vrac se référant aux acteurs, aux notions empruntées au social, au politique, à l'education, à la terminologie courante de la muséologie adaptée aux présupposés de la muséologie sociale

POPULATION = Terme générique pour désigner l’adhésion d’une population, ou d’un groupe significatif de citoyens d’un territoire d’appartenance, au projet de muséologie sociale. Celle-ci se mesure par le degré de participation, d’implication et de vision partagée, d’interaction au sein de la collectivité territoriale, son fief. PARTICIPANTS = Sont les acteurs actifs au sein de la population adhérante, partie prenante au projet de muséologie social. La participation se mesure selon le degré d’implication dans le projet et de compréhension de celui-ci (Intérêt, gestion partagée, militance, volonté de capacitation...) COOPÉRANT = Par solidarité, par engagement, il s’insère dans le système de l’action ccopérative, possédant ses règles propres, offrant sa contribution à l’unité de production conciliant la dimension sociale (de la muséologie), son idée au regroupement de personnes désireuses de contribuer à la production commune de biens de qualité au service de la population dont ils sont issus.

A metaficção e as entrelinhas em O doente Molière (2000), de Rubem Fonseca

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O papel da religião em Gargantua (1534) de François Rabelais: referências e intertextos bíblicos

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Revisitando o passado: o papel da história na obra romanesca de Franklin Távora

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Ciclo de política curricular do estado do Pará (2008-2012): a enunciação discursiva sobre relações “raciais”

O presente estudo analisa os enunciados discursivos do ciclo de Política curricular do Estado do Pará sobre as relações “raciais” no período de 2008 a 2012, a partir da abordagem do ciclo de políticas, proposto por Stephen Ball. Nesta análise, é focalizada a produção das políticas no contexto de influência, contexto de produção de textos políticos e contexto da prática. O referencial teórico-metodológico que subsidia a análise parte da Teoria sócio-histórica e dialógica da linguagem com base em Bakhtin (2010, 2011), abordagem do ciclo de políticas abalizado pelas teorizações de Ball et al (1992), para os estudos acerca Relações “Raciais” partimos dos conceitos de Guimarães (1999, 2002, 2008) e Coelho (2009) sobre raça. E, sobre as relações sociais estabelecidas no campo educacional, utilizamos as noções conceituais de campo e de habitus em Bourdieu (2008, 2009, 2010). O estudo é de abordagem qualitativa (FLICK, 2004). Utilizamos como fontes de coleta de dados documentos orais e escritos, dentre os quais destacamos: Artigos, Teses e Dissertações sobre Relações “Raciais” e Política Curricular realizado em duas bases de dados nacionais e uma internacional: a) ANPED (GT-21); b) site da CAPES/PPGE; c) Fundação Ford. Publicações: a) Política de Educação Básica do Estado do Pará, especialmente o eixo da Política Curricular; b) I Conferência Estadual de Educação: Diagnósticos, diretrizes, objetivos e metas aprovadas; c) Educação Básica no Pará: elementos para uma política educacional democrática e de qualidade Pará todos (vol I e II) e entrevista semiestruturada com quatorze agentes sociais que atuavam na SEDUC, USE e escolas da Rede Pública Estadual, os quais participaram da Política Curricular do Estado do Pará. Os dados foram analisados por meio da análise do processo enunciativo-discursivo com base em Bakhtin (2010, 2011). A partir da análise da enunciação discursiva do ciclo de política curricular do Estado do Pará sobre as relações “raciais” e da interpenetração dos discursos entre os contextos de influência, contexto de definição de textos políticos e contexto da prática os resultados do estudo revelam que os diferentes enunciados produzidos nos variados contextos são marcados pela hibridização de discursos, resultado de processos de recontextualização. Infere-se que a política curricular do Estado do Pará se apresenta em inter-relações entre múltiplos contextos no ciclo de políticas (BALL, et al, 1992). A despeito do caráter contínuo e não hierarquizado das políticas, da articulação macro e micropolíticas avançarem em relação às abordagens estadocêntricas e do processo de recontextualização política que ocorre no contexto da prática, o estudo conclui que a política curricular do Estado do Pará existe como uma política de Estado, existe como uma política educacional. No entanto, na exequibilidade dessa política de Estado e educacional na escola no tocante as relações “raciais”, ela não ocorre por conta da fragilização da competência cultural e teórica desse agente social que deve executá-la. A fragilização está na concretização dessa política no contexto da prática. Há um problema entre o que se projeta e o que se prática, o que ajuda a atribuir a realidade social a disseminação e ratificação do racismo e discriminação nos diferentes contextos que compõe a política de currículo.

Os logros da autobiografia: um estudo dos traços autobiográficos em Jacques Derrida

Pós-graduação em Letras - IBILCE

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Reducing the impact of EV charging on the electric grid

One of the main objectives of European Commission related to climate and energy is the well-known 20-20-20 targets to be achieved in 2020: Europe has to reduce greenhouse gas emissions of at least 20% below 1990 levels, 20% of EU energy consumption has to come from renewable resources and, finally, a 20% reduction in primary energy use compared with projected levels, has to be achieved by improving energy efficiency. In order to reach these objectives, it is necessary to reduce the overall emissions, mainly in transport (reducing CO2, NOx and other pollutants), and to increase the penetration of the intermittent renewable energy. A high deployment of battery electric (BEVs) and plug-in hybrid electric vehicles (PHEVs), with a low-cost source of energy storage, could help to achieve both targets. Hybrid electric vehicles (HEVs) use a combination of a conventional internal combustion engine (ICE) with one (or more) electric motor. There are different grades of hybridation from micro-hybrids with start-stop capability, mild hybrids (with kinetic energy recovery), medium hybrids (mild hybrids plus energy assist) and full hybrids (medium hybrids plus electric launch capability). These last types of vehicles use a typical battery capacity around 1-2 kWh. Plug in hybrid electric vehicles (PHEVs) use larger battery capacities to achieve limited electric-only driving range. These vehicles are charged by on-board electricity generation or either plugging into electric outlets. Typical battery capacity is around 10 kWh. Battery Electric Vehicles (BEVs) are only driven by electric power and their typical battery capacity is around 15-20 kWh. One type of PHEV, the Extended Range Electric Vehicle (EREV), operates as a BEV until its plug-in battery capacity is depleted; at which point its gasoline engine powers an electric generator to extend the vehicle's range. The charging of PHEVs (including EREVs) and BEVs will have different impacts to the electric grid, depending on the number of vehicles and the start time for charging. Initially, the lecture will start analyzing the electrical power requirements for charging PHEVs-BEVs in Flanders region (Belgium) under different charging scenarios. Secondly and based on an activity-based microsimulation mobility model, an efficient method to reduce this impact will be presented.

Le cas des marmites modelées e type M4.1. Nouvelles données archéologiques et archéometriques

Póster presentado en XI Congrès AIECM3 sur la céramique médiévale et moderne en Méditerranée, Antalya, Turquía, 19-23 octubre 2015