Dissertations / Theses on the topic 'French comics'

At some point in our lives, we have all experienced physical and emotional pain. We all also try to find meaning in such suffering, first within ourselves, but also through sharing these experiences with those who are close to us. In literature, authors who write autobiographies blur the boundaries between the public and private spheres when they invite readers into their personal world. Georges May and Philippe Lejeune, leading critics of the genre, have concluded that autobiographers not only try to make sense of their own lives, but through their writing, they also seek forgiveness and human compassion. My doctoral thesis explores how an important contemporary literary genre, the French autobiographical comic book (also known as the graphic novel), approaches the topic of health and disease and links it closely with questions of identity formation. Within the theoretical framework proposed by Laurent Berlant, who founded a now thriving branch of contemporary cultural studies known as “Intimacy Studies,” the central aim of my thesis is to demonstrate how these French graphic novels have become an important literary and cultural site for examining the social and artistic significance of a form of writing in which private health concerns are made public. In speaking of intimacy, emotions such as love and other kinds of interpersonal bonds typically come to mind. However, my study of a corpus of ten French-language autobiographical comic books indicates that health concerns and representations of a variety of physical, emotional and mental afflictions are topics of focus in this genre. Authors share their life stories and discuss their relationships with others, but they also share very personal details about their physical and mental states. This sort of intimacy is, I argue, a product of the medium itself. Comics are a hybrid genre in which written texts and images coexist. Comic artists who take their own lives as the subject of their art draw pictures of themselves over and over again. In the autobiographical comics I study, when illness and other afflictions strike the body, this suffering is rendered graphically on the page. These artists are also preoccupied by their inner lives. Both their writing and visual art allow them to portray the inner turmoil they endure in their private life. Comic book scholars, whose studies have proliferated over the past several decades, have largely overlooked how important the portrayal of health is in the development of the genre. This is somewhat surprising given the extent to which the underground graphic novelists who emerged in the United States in the 1960s found ways to defy the Comic Code Authority by challenging cultural norms. These artists openly rejected the rules and conventions of mainstream comics, which typically focused on the exploits of super heroes or talking animals. Instead, they found artistic inspiration in their everyday lives and here is where politics and the art of expressing intimacy intersect. Underground comics were certainly infused with a spirit of rebellion, but the artists who participated in this movement sought first to reinvent the genre itself. Little by little, they delved into their inner lives and began to address some of the most taboo subjects of the day, including topics relating to the most personal aspects of their bodily existence. The daring these early underground comic writers showed in examining the unspoken aspects of personal life and relations went a long way toward establishing the genre as a recognized art form, opening the way for a subsequent generation of comic writers to tackle other serious topics such as war and genocide. Knowledge of the contributions that American underground artists had made to the comic book genre eventually reached Europe in the 1990s. At the time, French artists were also growing tired of their own superhero story lines and disenchanted with the mass-production model that defined the Franco-Belgian comics industry. In response to these conditions, a small group of comic book artists formed a company called L’Association (The Association) which became the first independent comic book publishing house of its kind. They paved the way for many other such enterprises and their formula for success is now being replicated in the mainstream publishing houses these independent-minded artists fled several decades ago. Part of that formula is the inspiration these artists drew from American cartoonists who began in the 1960s to share intimate aspects of their personal lives with their readership. What I have discovered thus far is the frequency with which French autobiographical comics take up and place the subject of ill health and life-threatening disease at the center of the stories they tell. Broaching the topic of ill health is not unique to the comics genre, but is rather a feature of modern autobiographical writing in general. As medical knowledge and scientific understanding have advanced in the modern era, the field of literature has worked to reclaim narratives from the medical world. But unlike other forms of literary expression, comic books offer more freedom of expression and possess a greater capacity to reflect the complexity of human identity and existence. This is especially the case with representations of human suffering. Images can configure what writing fails to grasp, allowing comic artists to express feelings and convey anguish that words can hardly express. The autobiographies I examine were produced by authors who have lived through, survived, or were in some way personally touched by a grave health crisis. Their use of the comic book genre allows them to make sense of the often life-shattering events they, or those who live in close proximity to them, have lived. I am particularly interested in the way in which these authors recount the crisis moment in their lives, how they understand the ways it affected them, and how they were able, or not, to recover from the experience. I show that our state of health, both physical or mental, has a profound effect on our identity, and how we perceive and tell stories about this dimension of our lives is crucial to forming a sense of self, particularly in a contemporary digitalized world that is now flooded with information and images once considered too private for public consumption. I demonstrate how the nine graphic autobiographies I have chosen to study are intimate expressions of vulnerable selfhood, showing how these public portraits of human weakness are a particularly postmodern way of reconstituting one’s identity in the social world. Modern and contemporary theories of human subjectivity teach us that the self is always fragmented. When we are sick, however, the task of finding a sense of stability in ourselves and in the world is even more daunting. Illness proves to be such a dominant theme in the comic book tradition, I argue, because it is a reminder of our own mortality. In the works I am studying, it is the experience of pain and the specter of death that often prompts the authors’ reflection on the self and on life. All of the works I am examining share a common feature. They exhibit a constant tension between the anxieties of revealing a deep personal vulnerability and the desire to make their suffering meaningful, which is a crucial aspect of these authors’ quest to recover and to reconstitute a sense of self in the aftermath of a debilitating illness. Informed by the insights of intimacy studies, psychoanalysis, comics studies and visual studies, I will show how the nine works I examine participate in the process of meaning-making and how the comics genre allows them to do so in particularly inventive and contemporary ways.

Les textes littéraires dans l’enseignement du français, langue étrangère nous montrent l’emploi du lexique et de la morphosyntaxe dans un contexte linguistique, socioculturel et communicatif authentique. Ils motivent en outre les apprenants par un « plaisir de lecture ». Les textes illustrés ou les bandes dessinées renforceront ces objectifs et ils faciliteront encore mieux pour nos étudiants l’accès à la lecture grâce à la complémentarité du texte et de l’image. Astérix en sera le corpus principal, combinant le texte et l’image, la langue, la culture et des connaissances diverses. En comparant les interprétations variées des lecteurs chinois et des lecteurs français sur Astérix chez les Bretons, nous mettons en évidence l’interculturalité franco-chinoise, ce qui facilitera la compréhension de la langue et de la culture françaises. Le public visé est celui des étudiants de 3e année de licence des universités chinoises. Nous exploiterons ainsi la valeur pédagogique d’Astérix, tout en contribuant à la recherche sur l’emploi des textes illustrés et des bandes dessinées dans l’enseignement du FLE en Chine
Literary texts in teaching French as a foreign language show us the use of an authentic lexicon and morphosyntax, in a linguistic, socio-cultural and communicative context. In addition, they motivate students through « reading pleasure ». Illustrated texts or comics reinforce these objectives, and they facilitate further access of reading by combining text and image. Astérix will be the main corpus, as it combines text and image, language, culture and diverse knowledge. By comparing the various interpretations of Chinese and French readers of Astérix in Great Britain, we bring to the fore Franco-Chinese interculturality, which will facilitate understanding of French language and culture. Chinese students in the third year of university curriculum are our targeted public. We will thus take advantage of the educational value of Astérix, while contributing to research on the use of illustrated texts and comics in teaching French as a foreign language in China

Tesis para optar al grado de Magíster en Administración
Nohelia F. Gutiérrez Méndez [Parte I], Alexis Vera Caldera [Parte II]
La propuesta de FresCo llega a Ciudad de Panamá, para satisfacer a todas las personas que estudian, trabajan o llevan un ritmo de vida activo, entre 25 y 45 años, tanto para hombres como mujeres, que suelen realizar actividad física y valoran mucho el factor tiempo y que a pesar de todas las actividades que puedan realizar a diario desean alimentarse de forma saludable en el día a día, pero disponen de un corto periodo para comprar e ingerir dichos alimentos. A través de encuestas al segmento objetivo, entrevistas con expertos y observación en campo se logro corroborar que la propuesta expuesta por FresCo será bien recibida por el mercado objetivo ubicado en cinco de las principales areas de la ciudad de Panamá: Punta Pacífica, Costa del Este, Marbella, San Francisco y Condado del Rey. Con esto se ha estimado un tamaño de mercado de USD 23 millones para cada una de las zonas de Ciudad de Panamá en donde FresCo pretende instalarse en los próximos 5 años, y en donde tiene como objetivo alcanzar aproximadamente el 6% del mercado de cada una de dichas zonas. El Plan presentado a cinco años pretende expandir cuatro sucursales adicionales en estas áreas populares de la Ciudad de Panamá, los datos encontrados en la investigación de mercado realizada en el Area de Punta Pacífica fueron reaplicados para efectos de estas proyecciones. Al analizar la industria, competidores y clientes se puede identificar que la industria de Restaurantes ciudad de Panamá, al igual que el país, se encuentra en constante crecimiento. Analizando la economía de Panamá, en los últimos cuatro años el PIB ha mostrado un crecimiento constante pasando de USD29mil millones en 2010 a USD44mil millones en 2014, un 6.2% versus 2013. Los actores claves, necesarios para un exitoso desarrollo de nuestra propuesta son accesibles y existen opciones de buena calidad en el mercado actual. FresCo a través de su propuesta de valor entra a formar parte de la industria de restaurantes en Panamá, pero ingresando a un nicho de mercado como lo es la Comida Rápida Saludable (“Healthy”), en donde tiene la visión de ser la cadena de comida rápida saludable con mayor preferencia en las áreas de Panamá en donde se instale, para ello basará su oferta de productos en la diferenciación, que logrará a través de la entrega de una comida saludable servida en un corto tiempo. La relación con los clientes será directa y personalizada a través de la entrega de los diversos productos en las sedes de FresCo o a través del servicio de entrega a domicilio. Por otro lado, se tendrá una fuente de ingreso principal proveniente de la venta de alimentos saludables y una fuente secundaria de ingreso, obtenido mediante la venta de espacios publicitarios. Esta propuesta de negocio tiene escalabilidad, la cual inicialmente se enfoca en la expansión de sucursales en la cuidad de Panama, mientras en el mediano y largo plazo se enfoca a la diferenciación de su menú, enfocándose a clientes nicho de mercado mas específicos, como pacientes celiacos (alérgicos al gluten), diabéticos o con algún padecimiento que restringa el tipo de alimentación que deben tener. De igual manera se busca ser un complemento a la oferta de valor de socios estratégicos, como organizaciones médicas, gimnasios, academias deportivas, entre otros. La estrategia de Marketing propone en la primera etapa del negocio, la prueba del producto para ganar fidelización y crear awareness, en la etapa de crecimiento el conseguir 3.6% del mercado actual y en la etapa de maduración, una rentabilidad mínima de 25% sobre los ingresos brutos Mediante el análisis financiero de FresCo, se determina que se requiere una inversión inicial por USD 120mil, y al mismo tiempo muestra que el proyecto es factible en el periodo de 5 años, al entregar un VAN por USD 1.86 millones y un TIR igual a 121% con flujos de caja positivos desde el primer año de operación. Igualmente a través de un análisis de diferentes escenarios que puedan presentarse durante el curso de operación del negocio, como la variación en la tasa de crecimiento de los clientes, el número de recompra mensual, el porcentaje de merma, variación en el precio de venta, incremento salarial, se observó que existe un 98,4% que el proyecto entregue un VAN positivo. FresCo a través de la venta de 100 acciones pretende levantar un capital por USD 175 mil. En caso los inversionistas exijan una tasa máxima de 25%, el proyecto arroja un VAN USD 1.318.797, con lo cual el proyecto sigue ofreciendo una buena rentabilidad. El grupo de emprendedores está conformado por: Alexis Vera – Ingeniero Químico con conocimiento del mercado de extranjeros en panamá, deportista amateur y fanático de “Healthy lifestyle”. Nohelia Gutiérrez – ingeniera industrial, especialista en Logística de minorista
El proyecto FresCo “healthy fast food” llega a Panamá con una propuesta de comida deliciosa y saludable, enfocando el concepto en entregar platos de alta calidad nutricional y sabor, alimentos saludables y por último lograr servir los pedidos en corto tiempo (menos de 5 minutos), todo esto apoyado en recetas creadas por chefs que serán bajas en calorías grasas trans y azucares. Los aspectos que destaca el concepto de FresCo, llegan para satisfacer a un segmento de clientes quienes son principalmente profesionales ejecutivos entre 25 y 45 años, que se preocupan por su salud física integral, tienden a ser activos y organizados en sus actividades diarias, realizan actividad física con regularidad, y valoran altamente el tiempo que dedican a cada una de sus actividades. FresCo tiene como misión ser un restaurante que ofrezca variedad de alimentos a quienes valoran su bienestar físico y deseen poder alimentarse de forma saludable, y como visión, ser la cadena de restaurantes de comida rápida saludable con mayor preferencia en las áreas de Ciudad de Panamá en donde se instale (el plan de crecimiento plantea 5 sedes en Ciudad de Panamá). Para el proyecto FresCo, se ha estimado un tamaño de mercado de $ USD115 millones, incluyendo las 5 zonas en donde tiene planteado instalarse. FresCo a través de su proyección pretende alcanzar un 4,4% del mercado, con una rentabilidad de 29%. El plan de crecimiento que permitirá lograr la cuota de mercado establecida, considera la apertura anual de una sede (una sede por año por zona) de FresCo en Punta Pacifica, Costa del Este, San Francisco, Área Bancaria y Condado del Rey. El modelo de Negocio que plantea FresCo es un modelo Go to Market, en donde aspectos como la ubicación del local, su diseño interior, los envases que se utilizarán, los equipos, así como los procesos internos y los procesos de cara al cliente estarán alineados con el objetivo de lograr la propuesta de valor. En el mismo sentido FresCo tendrá una relación directa con sus clientes mediante la entrega de los productos en las distintas sedes de FresCo, al igual que la publicación de información a través de la página web y las cuentas en redes sociales. En el análisis Financiero realizado a FresCo, se determinó que se requiere de una inversión inicial igual a USD $238 mil, lo cual se compone de USD $121 mil para Propiedad, Planta y Equipos, y USD $117 mil para Capital de Trabajo, este último se requiere para poder iniciar las operaciones con todas las herramientas e insumos que se requieren, mientras se logran obtener flujos de caja positivos en la operación de la empresa. La evaluación financiera determinó que el proyecto es factible en un horizonte de 5 años, al entregar un VAN igual a USD $1,73 millones y un TIR igual a 99%, evidenciando a través de los números que el proyecto FresCo logra entregar valor a sus accionistas. Como complemento a la evaluación inicial, se realizó un análisis de sensibilidad al proyecto, con el objetivo de tener una idea más clara de cuáles serían los posibles escenarios que puedan presentarse en caso que diversas variables evaluadas puedan fluctuar en el horizonte de evaluación de 5 años, obteniendo como resultado un 99,5% de posibilidades de obtener un VAN positivo y un 63,2 % de obtener el VAN estimado para FresCo. FresCo requiere levantar un capital igual a USD $190mil, por lo que tiene disponible para la venta 100 acciones, a cambio de un 33% de capital accionario en la empresa. El grupo de emprendedores está conformado por: Alexis Vera – Ingeniero Químico con conocimiento del mercado de extranjeros en panamá, deportista amateur y fanático de “Healthy lifestyle”. Nohelia Gutiérrez – ingeniera industrial, especialista en Logística de minorista.

This thesis is on the theory and practice of comic sexual euphemism in Renaissance France and England. The term ‘comic sexual euphemism’ means the use of non-literal descriptions for sexual topics for the purposes of comedy, similar to an innuendo or double-entendre. Crucially, instances are often more explicit than straightforward literal statement, so fail to be euphemistic. I use ancient, early modern, and modern theory, as well as my own theoretical insights, and apply this to three types of Renaissance text: texts associated with the court from England and France, medical texts from France and their English translation, and theatre from England and France. Primary authors include Baldesar Castiglione, Pierre de Brantôme, Sir John Harington (who translated Ludovico Ariosto into English – Ariosto is also translated into French by Jean Martin), Laurent Joubert, Jacques Ferrand (translated into English by Edmund Chilmead), Thomas Middleton, Ben Jonson, Edward Sharpham, John Marston, and Pierre de Troterel. At the court of both countries a dangerous line was walked between protecting women and gossiping about them, between proving yourself witty regarding sexual material and going too far. In the world of French medicine, where you might expect professional and clinical language, there is instead a trend towards outrageous sexual humour. As at court, if deemed to have exceeded social norms, this could get writers into trouble. The stage was in some ways a safer environment in which to use comic sexual euphemism, as it was expected more in comic drama. This does not, however, lessen how vibrant and multi-faceted such language could be in early modern drama. Interestingly, similar imagery is found across texts and genres. In this period overall there was a tension between the rhetorical rules which forbid the discussion of the sexually obscene and the clear delight writers took in breaking these.

The goal of this thesis is to analyze the textual composition of René Goscinny’s Astérix and Le petit Nicolas, demonstrating how they differ and why. Taking a statistical look at the comparative qualities of each series of works, the structural differences and similarities in language use in these two series and their respective media are highlighted and compared. Though one might expect more complicated language use in traditional text by virtue of its format, analysis of average word length, average sentence length, lexical diversity, the prevalence of specific forms (the passé composé, possessive pronouns, etc.), and preferred collocations (ils sont fous, ces romains !) shows interesting results. Though Le petit Nicolas has longer sentences and more relative pronouns (and hence more clauses per sentence on average), Astérix has longer words and more lexical diversity. A similar comparison of the albums of Astérix written by Goscinny to those of Uderzo, paying additional attention to the structural elements of each album (usage of narration and sound effects, for example) shows that Goscinny's love of reusing phrases is far greater than Uderzo's, and that the two have very different ideas of timing as expressed in narration boxes.

From its inception, the French Wars of Religion was a European phenomenon. The internationality of the conflict is most clearly illustrated by the Protestant princes who engaged militarily in France between 1567 and 1569. Due to the historiographical convention of approaching the French Wars of Religion as a national event, studied almost entirely separate from the history of the German Reformation, its transnational dimension has largely been ignored or misinterpreted. Using ten German Protestant princes as a case study, this thesis investigates the variety of factors that shaped German understandings of the French Wars of Religion and by extension German involvement in France. The princes’ rich and international network of correspondence together with the many German-language pamphlets about the Wars in France provide an insight into the ways in which the conflict was explained, debated, and interpreted. Applying a transnational interpretive framework, this thesis unravels the complex interplay between the personal, local, national, and international influences that together formed an individual’s understanding of the Wars of Religion. These interpretations were rooted in the longstanding personal and cultural connections between France and the Rhineland and strongly influenced by French diplomacy and propaganda. Moreover, they were conditioned by one’s precise position in a number of key religious debates, most notably the question of Lutheran-Reformed relations. These understandings changed as a result of a number pivotal European events that took place in 1566 and 1567 and the conspiracy theories they inspired. This combination of influences created a spectrum of individual interpretations of the French Wars of Religion. The military campaigns of the years 1567-69, far from being motivated by political or financial opportunism, were the product of these individual interpretations.

Chaque année en France, les films adaptés des œuvres littéraires forment une partie importante des sorties cinématographiques, parmi lesquelles nous remarquons souvent les films adaptés des pièces de théâtre comiques. En effet, dès sa naissance, le cinéma est lié étroitement au théâtre, surtout aux pièces comiques. Les cinéastes ont puisé leurs inspirations aussi bien dans les pièces classiques (L’Avare, La Fausse Suivante, Cyrano de Bergerac, etc.) que les pièces modernes (La Cage aux folles, Le Dîner de cons, Le Prénom, etc.), en passant par les vaudevilles (Un Chapeau de paille d’Italie, Un Fil à la patte, etc.), les café-théâtre (les pièces du Splendid) et les pièces de Sacha Guitry et de Marcel Pagnol qui ont vécu la prospérité du théâtre filmé. Le théâtre et le cinéma, tous deux arts de spectacle, partagent énormément de points communs et gardent également de nombreuses différences. Ils se mélangent, s’influencent et se critiquent. Les spectateurs regardent la représentation théâtrale avec une vision « cinématisée » sans en avoir conscience. À l’inverse, nous déployons la théâtralité dans chaque séquence de film. Dans le cadre comique, quelle est donc la relation entre le cinéma et le théâtre ? Les ressorts du comique de théâtre sont-ils les mêmes au cinéma? Quels effets donnent-ils ? L’étude de l’adaptation des pièces comiques de théâtre au cinéma dans la période définie par notre corpus nous permet de voir les principes du travail de l’adaptation et de saisir le changement de la relation entre le théâtre et le cinéma au fil du temps. Ce changement nous laisse entrevoir la procédure de maturation d’un jeune art — le cinéma. Les valeurs esthétiques que nous avons dégagées dans ce travail nous aideront à comprendre d’une façon profonde les arts de spectacle, tandis que la valeur sociale du film adapté nous fera réaliser la nécessité de ce travail d’adaptation
Every year in France, plenty of new movies are adapted from literary works, among them, we can often notice the films adapted from comic plays. Indeed, since its invention, the cinema is closely related to the theater, especially to the comic plays. The filmmakers try to find their inspiration in classic plays (The Miser, La Fausse suivante, Cyrano de Bergerac, etc.) as well as modern plays (La Cage aux Folles, Dinner of Fools, The First Name, etc.) but also in vaudeville (Un chapeau de paille d’Italie, Love on the Rack, etc.), in dinner theater (the plays of the Splendid) and in the plays of Sacha Guitry and Marcel Pagnol, who experienced the boom period of « théâtre filmé ». As two performing arts, theater and cinema share a lot of common points but have also many differences. They influence each other. The audience, unconsciously, watches the theatrical performance with a « cinématisée » vision. Conversely, we deploy theatricality in each sequence of the film. In the comic plays, what is the relationship between cinema and theater? Are the comic elements of theater the same as those in cinema? What effects do they give? The study of the adaptation of comic plays to the cinema in the period defined by our corpus lets us see the principles of adaptation and know the change in the relationship between theater and cinema. This change shows us the maturing process of a young art —the art of cinema. The aesthetic values that we have reveald in this work will help us understand the performing arts in a deep way, and the social value of an adapted film will let us realize the need of this adaptation

Cette thèse s’intéresse à la représentation écrite du « parler jeune » dans la bande dessinée. La représentation de la langue des jeunes dans la bande dessinée est intéressante pour diverses raisons : D’un point de vue sociétal, elle touche à la langue des adolescents qui depuis quelques années attire l’attention des sociolinguistes et du grand public. D’un point de vue linguistique, le « parler jeune » est représenté dans la bande dessinée qui est une forme d’expression très prisée en France, en comparaison avec le français standard et la norme de la langue française. Les résultats trouvés dans la recherche originale sont très importants en ce qui concerne le passage de l’oral à l’écrit. La recherche s’est faite sur le plan phonique en étudiant la manière dont la prosodie et l’intonation sont interprétées à l’écrit ; sur le plan lexical en examinant les mots du corpus ; sur le plan morphologique en analysant la formation des mots du corpus ; sur le plan syntaxique où le besoin d’être bref est présent mais aussi quelle richesse apporte l’utilisation des interjections et des onomatopées dans la bande dessinée
This thesis deals the written representation of the youth language (slang) in comic books. The representation of the language of the young people in the comic books is interesting for various reasons: from a societal point of view, it relates with the language of the teenagers which for a few years has drawn the attention of the sociolinguists and the general public. From a linguistic point of view, youth language is represented in the comic books that are a form of expression very widespread in France, in comparison with standard French and the standard of French language. The results found in original research are very important with regard to the passage of the oral examination to the writing. Research was done at the phonic level by studying the way in which the prosody and the intonation are interpreted in written at the lexical level by examining the words of the corpus; on the morphological level by analyzing the formation of the words of the corpus; at the syntactic level where the need to be brief is present but also which wealth brings the use of the interjections and the onomatopoeias in the comic book

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
There are several problems on the analysis of biological communities with sparse data, resulting from gradients with high beta diversity. I used four strategies to solve this problem (Beals smoothing, Swan, Shortest Path and Extended Dissimilarity). I randomly removed from 1% to 50% of the individuals in empirical and simulated matrices. I then performed PCoA and nMDS ordinations and used Procrustes correlation of the original two dimensional ordination with the ordination obtained using the degraded matrices. For the simulated data set, I also correlated the ordenation in two dimensions with the coordinates of the samples in the two-dimensional simulated gradients. Finally, I analyzed how robustness to degradation, quantified as Procrustean correlation, was related to the matrix properties. Different from the expected, in the comparison of the degraded and original ordinations, the uncorrected data with a traditional dissimilarity index (Bray-Curtis) produced higher fit than the four methods evaluated. In relation to the coordinates of the simulated two-dimensional gradients, the evaluated methods were slightly better than the raw data. Overall, the simulated data were more robust to the degradation than the empirical ones and the data of abundance were more robust than matrices of presence and absence. Matrices with small proportion of zeros were more robust to degradation. I conclude that the correction methods evaluated distorted the pattern on the original data. Also, data with low beta diversity (few zeros) are robust to degradation and sufficient to reconstruct the original gradient.
Existem vários problemas nas análises de comunidades em Ecologia decorrentes da grande quantidade de zeros na matriz de espécies por locais (dados esparsos), principalmente em situações em que a diversidade beta é alta. Usando quatro estratégias para resolver estes problemas (Beals, Swan, Menor Caminho e Dissimilaridade estendida) retirei aleatoriamente de 1 ate 50 % dos indivíduos de matrizes empíricas e simuladas (degradação das matizes). Realizei ordenações PCoA e nMDS e, com correlações de Procrustes, relacionei a ordenação original em duas dimensões com a ordenação obtida pelas matrizes degradadas. Com dados simulados relacionei a ordenação em duas dimensões também com as coordenadas das amostras no gradiente bidimensional simulado. Além disso, analisei como a robustez à degradação, medida como correlação Procrustes, está relacionada às características da matriz. Diferente do esperado, na comparação das ordenações de matrizes degradadas com a ordenação da matriz original, os dados utilizados sem correções e com índice de dissimilaridade tradicional (Bray-Curtis) tiveram maior ajuste que os quatro métodos avaliados. Em relação às coordenadas, os métodos aplicados tiveram desempenho um pouco melhor do que os dados sem correções quando a diversidade beta foi maior. Em geral, os dados simulados foram mais robustos à degradação que os empíricos e os dados de abundância foram mais robustos que de presença e ausência. Matrizes com menor proporção de zeros foram mais robustas à degradação. Concluo que os métodos de correção distorceram o padrão dos dados originais. Ainda, dados com baixa diversidade beta (poucos zeros na matrix) são robustos à degradação e são suficientes para reconstruir o gradiente original.

Pensions et pensionnaires de la monarchie : de la grâce royale au système de redistribution de l’État au XVIIIe siècle La question des pensions et des pensionnaires de l’État est abordée à partir d’un corpus de sources centré sur les archives de la Maison du Roi, du Trésor royal et du Comité des pensions de l’Assemblée nationale constituante. Les mécanismes d’attribution et de distribution des pensions royales permettent de redécouvrir les contradictions de la monarchie d’Ancien Régime, prises entre la permanence de traditions anciennes et les exigences de l’État moderne. En revenant sur les tentatives répétées et inabouties de réformer et de rationnaliser un objet de dépenses dont le poids n’a cessé de peser sur les finances royales, la thèse invite à s’interroger sur ces formes de distributions utilisées par le pouvoir comme un instrument de domination politique et social, mais dont les aspects financiers et comptables ont été inégalement maîtrisés. L’histoire de la gestion des pensions royales au XVIIIe siècle offre une étude de cas particulièrement documentée qui permet d’illustrer le développement de la bureaucratie moderne, révélant une administration imaginative dans sa manière de réformer les pensions de l’État mais freinée par les intérêts contradictoires du régime. C’est finalement la crise politique de 1789 qui a permis de clarifier et de réformer un système de grâces royales devenu le symbole des abus de la cour aux yeux de l’opinion publique. En séparant les pensions de cour des pensions de l’État, en créant un droit à la pension pour les serviteurs de l’État là où l’Ancien Régime ne connaissait qu’un système de récompenses fondé sur l’usage et l’esprit de clientèle, le Comité des pensions de l’Assemblée nationale constituante a posé, en 1790, les bases du premier système de retraite de la fonction publique d’État
Pensions & pensioners of the French monarchy : from royal favour to State redistribution system in the eighteenth century The issue of State pensions and pensioners is tackled on the basis of a corpus of sources found among the archives of the Maison du Roi (Royal Household), the Trésor royal (Royal Treasury) and the Comité des pensions (Pensions Committee) of the Assemblée nationale constituante (National Constituent Assembly). An analysis of the attribution and distribution mechanisms of the Royal pensions reveals the contradictions of the Ancien Régime monarchy: the preservation of ancient traditions versus the requirements of a modern State. The repeated and unsuccessful attempts to reform and rationalize an object of expenditure whose weight has not ceased to weigh on the royal finances is demonstrated here. The thesis invites us to question these forms of distribution used by the power as an instrument of political and social domination, but whose financial and accounting aspects have been unequally controlled. The history of the royal pensions management in the 18th century offers a particularly well-documented case study that illustrates the development of modern bureaucracy. It reveals an inventive administration in its way of reforming State pensions while constrained by conflicting interests of the regime. It was finally the political crisis of 1789 that clarified and reformed a system of royal liberalities that became the symbol of abuses of the Court in the eyes of public opinion. In 1790, by separating Court pensions from State pensions, by creating an entitlement to pension for State servants where the Ancien Régime knew only a system of rewards based on custom and clientelism, the Comité des pensions of the Assemblée nationale constituante laid the foundation for the first pension system of the State Public Service

Gabriel Hanotaux (1853-1944) est une figure oubliée de la Troisième République : ancien ministre des Affaires étrangères (1894-1898), historien de Richelieu et homme de lettres élu à l’Académie française (1897), cet homme d’État n’a eu d’autres soucis que le sort de la France. Déçu de la sphère politique qu’il intégra au Quai d’Orsay durant près de vingt ans (1879-1898), où il subit de plein fouet la critique acerbe d’une opinion publique bouillonnante, il quitta le Gouvernement pour ne plus endosser que des rôles ponctuels officiels – ambassadeur extraordinaire lors de la canonisation de Jeanne d’Arc à Rome (1920), délégué de la France à la Société des Nations (1920-1923) – et décidait de défendre cette France en suivant l’enseignement de Richelieu. Aidé de son large réseau, il fonda le Comité France-Amérique (1909) pour renforcer une amitié outre-Atlantique qu’il jugeait décisive face à la tension croissante des relations internationales, créa localement le Comité de l’Aisne au moment de la Première Guerre mondiale pour soutenir l’effort de guerre à l’arrière, usa de sa plume pour défendre une paix durable, fonda avec un collège de savants l’Académie des Sciences coloniales (1923) pour participer à ce mouvement de la « plus grande France », et contribua, enfin, au rayonnement des lettres, arts et sciences du pays jusqu’à la Seconde Guerre mondiale. Auteur de nombreux ouvrages et articles, dont l’Histoire de la Nation française, Hanotaux a été tant un acteur qu’un observateur de cette société dont il fréquentait intimement les chefs d’État et de Gouvernement de Gambetta au maréchal Pétain en passant par J. Ferry, R. Poincaré, A. Millerand ou encore A. Lebrun
Gabriel Hanotaux (1853-1944) is a forgotten personality of the Third Republic: former Minister for Foreign Affairs (1894-1898), historian of Richelieu and literary scholar voted membership into the French Academy (1897), this statesman was mainly concerned with the future of France. Disappointed in the political sphere which he joined at the Quai d’Orsay for nearly twenty years (1879-1898) in which he was severely criticized by a seething public opinion, he left the government to assume only intermittent and official functions – official ambassador at the canonization of Joan of Arc in Rome (1920), delegate of France to the League of Nations (1920-1923) – and he decided to defend this France by following Richelieu’s teaching. With the help of his broad network, he founded the Comité France-Amérique (1909) with the aim of strengthening a friendship across the Atlantic that he considered decisive in the face of the growing tension in international relations, he created the local Comité de l’Aisne during the First World War to support the war effort at the back of the front. He used his pen to defend a permanent peace, he founded the Académie des Sciences coloniales (1923) with a college of scholars to participate in this "greater France" movement, and finally, he contributed to the influence of the country's letters, arts and sciences until the Second World War. Author of numerous books and articles, including L’Histoire de la Nation française, he was both an actor and an observer of this society, whose heads of state and government he was intimately acquainted with, from Gambetta to Marshal Petain, via J. Ferry, R. Poincare, A. Millerand and A. Lebrun

L’émergence d’un « ‘esprit’ capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l’usure et de l’intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l’époque, et plus particulièrement chez les grands dramaturges qui ont marqué l’imaginaire collectif en mettant en scène des personnages avares. À partir d’un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l’Occident chrétien, l’appréhension nouvelle de l’argent comme objet et comme signe permet de construire une véritable figure moderne de l’avarice. Shylock, Volpone et Harpagon sont suspendus entre un or quasi divin, et l’univers plus ou moins connu de l’argent, qu’ils pensent maîtriser grâce à leur trésor. S’ils s’intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » (Simmel) suscitée par l’économie de l’usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L’analyse finale de ces dénouements permet de comprendre le travail de chaque auteur sur la forme et la fonction du comique, à travers le texte, les genres, ou une esthétique de l’espace. Elle montre que chacun s’attache à valoriser l’apport de son art au public dans une période de crise socio-économique
The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis

Cette recherche se situe dans le domaine de la didactique des langues. Elle s’appuie sur une expérience d’enseignement du français à travers la mise en place d’un projet d’arts du cirque menée en classe d’initiation (CLIN). L’hypothèse est que les activités de cirque, par les émotions qu’elles mettent en jeu et les situations de communication qu’elles développent, sont déclencheuses d’une prise de parole spontanée et ont un effet positif sur la production orale des apprenants en L2. Les étapes de réalisation du projet tiennent compte de l’évolution de la place des émotions dans la pratique de cette activité artistique : Se mouvoir pour s’émouvoir ; Voir et s’émouvoir ; Donner à voir pour émouvoir. L’analyse des tâches mises en place à la lumière des théories de l’acquisition des langues permet de mesurer leur impact sur le développement de la production orale des apprenants en français. L’analyse de la production orale ainsi que de l’investissement des apprenants dans le projet et des émotions qu’ils ont exprimées, permet de mettre en évidence certains éléments du rapport émotion/investissement/acquisition d’une L2. En mesurant la portée et les limites de cette étude, je peux proposer quelques perspectives et conseils pour la mise en place d’un projet cirque visant l’acquisition d’une L2
This research is situated in the field of language teaching. It is based on an experience of teaching French through a circus arts project, conducted in a primary school with a group of children aged 6 to 11, recently arrived in France. The hypothesis is that circus activities through the emotions involved and the implied situations of communication lead to spontaneous speech and have a positive effect of L2 oral production. The steps of the project take into account the evolution of emotions developed in these artistic activities: - Move to feel moved - See and feel moved – Give to see for spectators to feel moved. The analysis of the tasks in the light of language acquisition theories leads to a better understanding of the impact of this project on learners’ oral production of French. The analysis of the oral production, the examination of the investment of learners in the project and of emotions they expressed, allow me to highlight certain elements of the link between emotion, investment and L2 acquisition. After measuring the scope and limits of this study, I can suggest a few perspectives and advice for the establishment of a circus project involving L2 acquisition

Les modes de négociation au CAD de l'OCDE sont organisés autour de la règle du consensus et d'un processus itératif conduit entre pairs. Ces modes de négociation ont produit la notion d'Etat fragile de 2004 à 2010, idée prête à l'usage et prête à être étendue par ses promoteurs initiaux comme par tous les représentants de bailleurs de fonds qui choisissent de s'y investir. La notion et l'agenda concernant les Etats fragiles entrent en 2005 dans la course à la démonstration de la légitimité de l'aide publique au développement comme des compléments nécessaires et comme des concurrents à l'agenda de l'effocacité de l'aide. Cependant les mêmes modes de négociations ainsi que les contraintes organisationnelles et normatives rencontrées dans les bureaucraties de l'aide qui participent à cette construction ont tendu à normaliser le contenu et à limiter la transposition politique et bureaucratique de ce nouvel agenda. Au sein du CAD, ces contraintes diminuent également la portée des tenants de l'agenda Etats fragiles qui doivent faire face à des normes établies. Cet agenda a cependant pu être diffusé rapidement en raison de sa malléabilité, de la nature proinstitutionnelle de son argumentaire et du risque normatif et politique relativement faible qu'il fait prendre aux acteurs qui s'en servent pour promouvoir leurs propres visions stratégiques de l'aide publique au développement. Dans ce contexte, le CAD constitue une arène internationale de négociation où s'analyse l'action organisée des représentants de bureaucraties bilatérales et multilatérales
LModes of negotiation OECD DAC are organized around the rule of consensus and an iterative process led peer. These modes of negotiation produced the concept of fragile state from 2004 to 2010, an idea ready to use and ready to be extended by its promoters as the original by all representatives of donors who choose to invest. The concept and agenda for fragile states come into the race in 2005 to demonstrate the legitimacy of official development assistance as necessary complements and as competitors on the agenda of the effocacité help. However the same modes of negotiation and organizational constraints and normative encountered in aid bureaucracies involved in this construction have tended to standardize the content and limit the political and bureaucratic implementation of this new agenda. In the DAC, these constraints also reduce the scope of the proponents of the fragile states agenda should deal with established standards. This agenda has yet been released quickly because of its malleability, nature proinstitutionnelle of its arguments and the normative and political risk he is taking relatively small actors who use them to promote their own strategic visions of the official development assistance. In this context, the DAC is an international trading arena where analysis of organized action by representatives of bilateral and multilateral bureaucracies

La présente thèse de doctorat décrit comment la construction européenne, point de confluence de la démarche politique de Valéry Giscard d'Estaing et d'Helmut Schmidt, a déterminé la poursuite de leur collaboration après 1981/82. Dans ce but, elle se focalise sur les travaux du Comité pour l'Union monétaire de l'Europe, créé à l'initiative de Valéry Giscard d'Estaing et d'Helmut Schmidt en 1986, au lendemain de l'adoption de l'Acte unique européen par leurs successeurs. Quel rôle leur initiative a-t-elle joué sur la constitution du Comité Delors en 1988, chargé d'étudier le projet d'Union économique et monétaire de l'Europe, et, plus largement, sur la mise en oeuvre du traité de Maastricht ? L'analyse, en replaçant la conception européenne de Valéry Giscard d'Estaing et d'Helmut Schmidt dans les débats des années 1980 et 1990 entre approches institutionnalistes et intégrationnistes, économistes et monétaristes, keynésianistes et ordolibérales, ou encore françaises et allemandes, met à jour les enjeux du lobbyisme et de l'intégration économique dans le processus de construction européenne
The present dissertation describe how the construction of Europe, point of confluence of the political measure of Valery Giscard d'Estaing and Helmut Schmidt, was determinant in the pursuit of their collaboration after 1981/82. In this goal it is focussing on the works of the Comity for Monetary union of Europe, created by Valery Giscard d'Estaing and Helmut Schmidt in 1986, before the adoption of the Single European Act by their successors. What role their initiative did played on the constitution of the Delors Comity in 1988, charged to study the project of Economic and Monetary Union of Europe and more widly on the execution of the Maastricht Treaty? The analysis, with the replacement of the European concept of Valery Giscard d'Estaing and Helmut Schmidt in the beginning of the years 1980 and 1990between the approaches institutionalist and integrationist, economist and monetist, keynesianist and ordoliberal, or French and German , reveal the issues of the lobbyist and the economical integration in the process of the construction of Europe

2 TITLE: The Use of French Comic Book in the French language learning SUMMARY: The thesis aims to gather the information from various sources- the historic, specialized sources-books, from the Internet or from personal consultations as well. The topic has been chosen because the French comic books and magazines have been an inseparable part of the French culture, especially among French teenagers. It has been appreciated for its social and aesthetic values. However, the thesis mainly aims to demonstrate the French comics and its important role in the process of the second language learning/teaching. According to a brief survey concerning the Czech students and their knowledge and attitude towards the comics, we have prepared several teaching lists regarding the language level as well as the age of students. KEYWORDS: French comic book, language learning, teaching material

(in English): The present thesis titled Translation of francophone comics deals with the subject matter of comics translation, while applying both a theoretical and an empirical approach. Particular attention is paid especially to translations from French into Czech. Regarded the fact that Czech science has only scarcely studied the subject so far, the present thesis is conceived as a global introduction to the subject matter with particular focus on some of its partial aspects. The introduction to the theoretical part of the present study defines the main characteristic features of comics as a medium, as these features are closely linked to the particular challenges raised by its translations. The key chapters of the theoretical part go further to the core of the principal subject and focus on setting a general theoretical framework for translation analysis of specific problems linked with comics translations. The most common challenges faced by a comics translator are identified based on the defined characteristics of the Ninth Art and systemized in three main groups defined as technical, cultural and linguistic aspects of translation. While translating comics from French into Czech, the translator's work is also influenced by the radical differences in approaches to the Ninth Art in the Czech...

L'émergence d'un « 'esprit' capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l'usure et de l'intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l'époque, plus particulièrement chez les dramaturges qui ont marqué l'imaginaire collectif en mettant en scène des personnages avares. À partir d'un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l'Occident chrétien, l'appréhension nouvelle de l'argent comme objet et comme signe permet de construire une véritable figure moderne de l'avarice. Les protagonistes de chaque pièce, Shylock, Volpone (Mosca) et Harpagon, sont suspendus entre un or quasi divin, et l'univers plus ou moins connu de l'argent, medium en passe de devenir l'équivalent universel de tout bien, qu'ils pensent maîtriser grâce à leur trésor. S'ils s'intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » des valeurs (Simmel) suscitée par l'économie de l'usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L'analyse des dénouements permet dès lors de comprendre le travail de chaque auteur sur la forme et la fonction de la comédie, à travers le texte, les genres, ou une esthétique de l'espace. Elle montre que chacun s'attache à valoriser l'apport de son art au public, dans une période de crise socio-économique.
The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice. Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis.
Réalisé en cotutelle avec l'Université de Paris Ouest Nanterre La Défense

anglicky : Title of the thesis : Humour during the French classes Keywords : Comic, irony, humour, laughter, Henri Bergson, Louis Cazamian, gelotology, gélothérapie, sense of humour, French as a foreign language, school class, word play, joke, riddle, tongue twister, didactical sheet. Abstract : The thesis aims to provide a comprehensive description of possible use of humour in teaching the French language. In the theoretical section, it defines humour as a form of comic, deals with the influence of humour and laughter on health and describes the advantages and difficulties of integrating humour into school teaching. In the practical part, it analyses the humour in French textbooks, proposes a typology of humour in teaching materials and presents finally didactical sheets to teach French at all language levels. These exercises and activities are dedicated to all speech and language skills. They are focused on different themes to captivate the target age category and meet the requirements to be fun for students. The thesis should become aid and inspiration for those teachers, who decide to incorporate humour and laughter in the teaching of French.