TRANSHUMANCES, suivi de I ended up being my own trout (jeux de fragments avec Éric Plamondon)

Ce mémoire en recherche-création s’intéresse à la quête identitaire, et / ou au désir de tracer son propre chemin en réinterprétant les événements du passé. Le roman TRANSHUMANCES raconte le pèlerinage d’Alice sur la via Podiensis, qui relie la commune du Puy-en-Velay en France, à Santiago de Compostela en Espagne. Elle marche. Elle marche pour oublier, pour enterrer ses morts, pour avancer, ailleurs. Elle marche et fait de nombreuses rencontres. Par la conversation et la contemplation, elle tente d’apaiser les maux qui la rongent. Elle marche et apprivoise ce chemin mythique, mystique, cette route qui mène le croyant à la rencontre de Dieu et qui pousse l’impie à la rencontre de lui-même. Alice fait la connaissance de John. Ils se racontent des blagues et des secrets, partagent repas et larmes, deviennent frères d’ampoules et rentrent à la maison, changés. L’essai I ended up being my own trout (jeux de fragments avec Éric Plamondon) explore quant à lui à l’écriture fragmentaire, en s’intéressant particulièrement aux effets qu’opèrent les fragments sur la lecture. Éric Plamondon, avec sa trilogie 1984, utilise la forme fragmentaire afin de jouer avec le lecteur : il le fait douter de ses certitudes et le guide vers une vision manipulée de l’Histoire. Le lecteur est alors confronté à la pluralité des interprétations et doit s’imposer comme auteur de sa propre lecture.

A vária máscara de Joana : melancolia em perto do coração selvagem

Entitled Joana s several mask: the melancholy in Perto do coração selvagem, the work is divided in six parts: the first one consists of the elaboration of a theoretical sketch about the melancholy that it offers the presuppositions that orientate the work, it is a short introduction about the study of the melancholy, a report until our time, the against-depressive ones and the arrival of the melancholy in Brazil and their particularities; the second part raises the theme of the melancholy, deepening its conception until what is called creative melancholy spread by Walter Benjamin, it serves as anchor for Clarice s writing and as a potential force for the processes lived by the characters of this writer; the third part examines Clarice Lispector s method emphasizing important points of production related to the theme of the melancholy, her style is the psychological analysis; the last one parts (fourth, fifth and sixth parts) are divided in topics that illustrate the conflicts, in most of the time contradictory, of the protagonist Joana, as well as, her difficult interaction with the things and the people that surround her. The fragmentary writing, the being's essential searches, the proximity with the death, the multiplicity of voices of feminine, De profundis, surrealist images, the incessant search for the thing , trips, epiphany, the flaw in the language, the taste of the badly, everything starting from melancholy - transformation and creation tool. The work about melancholy (Freud, Benjamin, Kristeva), it s place of ambiguous and contradictory movements. It is a trip that leads to several corporal and psychological sensations of Joana, enigma-scenes to be deciphered and conflicting images that make you wake up for a critical vision of the modern society. Since the beginning, something pulses without stopping, an incessant memory and the search for something that is lost. We are before recyclings of the interior/exterior, pain/pleasure, visions, abyss, ecstasy in the future and an exit through the melancholic light

Fragmentos e abismos discursivos do Livro do desasocego

Considering Fernando Pessoa’s The Book of Disquiet as edited in English –, written under the would-be heteronym Bernardo Soares, the author of the present thesis has tried to question, and eventually show, the forms through which fragmentary writing can reveal the power of language. The approach to literary corpus of this research was made having in mind the symbolic structure of the representation of language, used by Soares’ character as a continuous life reinvention resource - a character that shows himself as a proclaimer of reflections and aphorisms spread under numerous themes and pieces of text. The The Book of Disquiet has recorded a somewhat unquiet recent history since its first edition in 1982, with a considerable number of editions and editing criteria, having in common Dominique Maingueneau’s (2006) textual analysis as central theoretical subsidy. In the present work, however, the author has sought to endeavor beyond the theory and borders of Maingeneau’s approach, and to bring by the contribution of authors that had already explored confluent issues, e.g. Françoise Susini-Anastapoulos, Gilles Deleuze, Jerónimo Pizarro, Maurice Blanchot, Roland Barthes, and other. Considering that The Book of Disquiet is a fragmentary work by nature, the author believes that multiple contributions are likely to favor multiple approaches and to reveal consistent angles or paths to approaching Soares’ core work.

Le silence, ce cri qui résonne dans l’écriture de Viviane Forrester

La literatura de la Shoá va unida al silencio desde sus orígenes como la escritura al silencio. Escribir sobre la Shoá y relatar la experiencia vivida en primera persona o mediante la transmisión generacional implica abandonar el silencio en el que, durante años, se buscó refugio. Con esta investigación centrada en la producción literaria de Viviane Forrester, nos adentramos en las distintas manifestaciones del silencio que caracterizan su escritura. El silencio es el grito que subyace en lo más profundo del ser que regresa de los campos, cual Lázaro de entre los muertos. Es un silencio que se convierte en grito porque la escritura de Forrester, casi en paralelo a la escritura fragmentaria de Blanchot, anuncia el livre à venir, aquel que logrará expresar el grito en el silencio sin fin de la palabra.

Optical And Nonoptical Aids For Reading And Writing In Individuals With Acquired Low Vision.

To evaluate the use of optical and nonoptical aids during reading and writing activities in individuals with acquired low vision. This study was performed using descriptive and cross-sectional surveys. The data collection instrument was created with structured questions that were developed from an exploratory study and a previous test based on interviews, and it evaluated the following variables: personal characteristics, use of optical and nonoptical aids, and activities that required the use of optical and nonoptical aids. The study population included 30 subjects with acquired low vision and visual acuities of 20/200-20/400. Most subjects reported the use of some optical aids (60.0%). Of these 60.0%, the majority (83.3%) cited spectacles as the most widely used optical aid. The majority (63.3%) of subjects also reported the use of nonoptical aids, the most frequent ones being letter magnification (68.4%), followed by bringing the objects closer to the eyes (57.8%). Subjects often used more than one nonoptical aid. The majority of participants reported the use of optical and nonoptical aids during reading activities, highlighting the use of spectacles, magnifying glasses, and letter magnification; however, even after the use of these aids, we found that the subjects often needed to read the text more than once to understand it. During writing activities, all subjects reported the use of optical aids, while most stated that they did not use nonoptical aids for such activities.

Proposal of a High-Level Language for Writing Self Modifying Programs

This paper proposes a simple high-level programming language, endowed with resources that help encoding self-modifying programs. With this purpose, a conventional imperative language syntax (not explicitly stated in this paper) is incremented with special commands and statements forming an adaptive layer specially designed with focus on the dynamical changes to be applied to the code at run-time. The resulting language allows programmers to easily specify dynamic changes to their own program`s code. Such a language succeeds to allow programmers to effortless describe the dynamic logic of their adaptive applications. In this paper, we describe the most important aspects of the design and implementation of such a language. A small example is finally presented for illustration purposes.

Catalyst Writing Syndicate Meetings Agenda 2007

Meetings take place 1-2 pm Wednesdays. The April/May convenor is Nicki Sochacka.