O passado como um grande mistério. O professor de história como um investigador. Aquilo que se passou como um acontecimento, com Deleuze, a fissura em qualquer percepção que busca extrair um sentido dele mesmo. A narrativa literária como expressão de falar com os romances, e não sobre eles. A leitura e a escrita, simultaneamente, como procedimento de pesquisa. As tipologias históricas como composição de personagens. O problema de pesquisa que incita o drama. A presente dissertação busca produzir, na superfície da própria escrita, aquilo que propõe como tema. Por isso, a narrativa do ensino de história é expressa como um romance policial: as revisões bibliográficas como flashbacks, as problemáticas como reviravoltas e as conclusões como clímax (ou a espera por ele). Romance noir; onde a verdade é mais negociável e depende mais das paixões de quem a busca do que pelo comprometimento com o conhecimento; o acaso tem sua função; e um mistério leva a outro, e assim por diante. No assassinato que impulsiona a trama, não mais um fato, onde as perguntas do mistério de enigma seriam quem, como ou por que; mas sim o acontecimento, onde os efeitos se expandem pelo vazio deixado por ele. / The past as a great mystery. The history teacher as an investigator. What happened as an event, with Deleuze, the perception that any fissure in search extract a sense of himself. The literary narrative as an expression to speak to the novels, and not about them. Reading and writing simultaneously as a research procedure. The historical typologies as composite characters. The research problem that incites the drama. This dissertation seeks to produce, on the surface of the writing itself, what it proposes as theme. Therefore, the narrative of history teaching is expressed as a detective story: the literature reviews as flashbacks, problems such as turns and conclusions climax (or wait for it). Romance noir, where the truth is negotiable and depends more on the passions of those who search for their commitment to knowledge; chance has its function, and a mystery leads to another, and so on. In murder that drives the plot, not one more fact, which questions the mystery of who would riddle, how or why, but the event, where the effects expand the void left by him.

Esta tese investiga de que forma a ficção contemporânea de língua portuguesa encontra possibilidades de resistência à crise do romance que tem se estabelecido na contemporaneidade. As obras dos autores Bernardo Carvalho e Francisco José Viegas, inscritos no início do século XXI, permitem verificar como a ficção da era atual suplanta a crise da narrativa e inscreve-se como elemento de resistência. Com base nas teorias de Walter Benjamim, Theodor Adorno, Zygmunt Bauman e Andreas Huyssen - acerca do declínio da narrativa e do romance aliadas a questões de deslocamento, memória e identidade procuramos demonstrar que essa ficção responde a um momento de crise e de transição. Assim, a ficção dos autores investigados representa não a crise do romance, antes configurase como romance da crise, justamente por encontrar nas questões conflitantes (transgressão narrativa, deslocamento espacial, diluição da memória e identidades fluídas) os muros para a construção de seu labirinto ficcional. / This thesis investigates how the contemporary fiction of Portuguese language meets possibilities of resistance to the crisis of the romance that has established in the contemporaneity. The titles of the authors Bernardo Carvalho and Francisco José Viegas, registered in the beginning of the 21st century, allow examining how the fiction from the current era supplants the narrative crisis and inscribes itself as a resistance element. Based in the theories of Walter Benjamim, Theodor Adorno, Zygmunt Bauman and Andreas Huyssen about the decline of the narrative and the romance allied to questions of displacement, memory and identity we try to demonstrate that this fiction responds to a moment of crisis and transition. Thus, the fiction of the authors investigated represents not the crisis of the romance, before, it configures itself as romance of the crisis, justly for meeting in the conflicting questions (narrative transgression, spatial displacement, dilution of the memory and fluid identities) the walls for the construction of its fictional labyrinth.

O passado como um grande mistério. O professor de história como um investigador. Aquilo que se passou como um acontecimento, com Deleuze, a fissura em qualquer percepção que busca extrair um sentido dele mesmo. A narrativa literária como expressão de falar com os romances, e não sobre eles. A leitura e a escrita, simultaneamente, como procedimento de pesquisa. As tipologias históricas como composição de personagens. O problema de pesquisa que incita o drama. A presente dissertação busca produzir, na superfície da própria escrita, aquilo que propõe como tema. Por isso, a narrativa do ensino de história é expressa como um romance policial: as revisões bibliográficas como flashbacks, as problemáticas como reviravoltas e as conclusões como clímax (ou a espera por ele). Romance noir; onde a verdade é mais negociável e depende mais das paixões de quem a busca do que pelo comprometimento com o conhecimento; o acaso tem sua função; e um mistério leva a outro, e assim por diante. No assassinato que impulsiona a trama, não mais um fato, onde as perguntas do mistério de enigma seriam quem, como ou por que; mas sim o acontecimento, onde os efeitos se expandem pelo vazio deixado por ele. / The past as a great mystery. The history teacher as an investigator. What happened as an event, with Deleuze, the perception that any fissure in search extract a sense of himself. The literary narrative as an expression to speak to the novels, and not about them. Reading and writing simultaneously as a research procedure. The historical typologies as composite characters. The research problem that incites the drama. This dissertation seeks to produce, on the surface of the writing itself, what it proposes as theme. Therefore, the narrative of history teaching is expressed as a detective story: the literature reviews as flashbacks, problems such as turns and conclusions climax (or wait for it). Romance noir, where the truth is negotiable and depends more on the passions of those who search for their commitment to knowledge; chance has its function, and a mystery leads to another, and so on. In murder that drives the plot, not one more fact, which questions the mystery of who would riddle, how or why, but the event, where the effects expand the void left by him.

Nombre de lectures concernant la fiction d’espionnage de John le Carré s’accordent sur la place particulière que celle-ci occupe au sein du genre. Pourtant, aucune ne met en regard la spécificité des romans et de l’écriture le carréenne, avec ses emprunts au roman de détection ou au roman américain hard-boiled, et le contexte politique, philosophique et épistémologique. Lorsque les premiers romans de le Carré sont publiés, dans les années 1960, le monde connaît d’importants bouleversements sociaux et politiques. Si de nouveaux enjeux naissent alors dans le roman d’espionnage, et si la fiction de John le Carré fait partie de celles qui incarnent ces changements, on retrouve plus particulièrement chez l’auteur les marques de la rupture épistémologique des années 1960 : flexibilité des valeurs morales au sein des services de renseignements, vide dogmatique, et parfois idéologique, chez l’agent professionnel, ou encore remise en cause de l’Histoire, qui est perçue chez le Carré comme le résultat d’actes de manipulation. Ainsi, en entrant dans l’ère du soupçon, telle qu’elle est dépeinte et magnifiée dans le monde secret de le Carré, son oeuvre offre un reflet des inquiétudes qui marquent la postmodernité de la fin du XXe siècle. Pourtant, l’oeuvre s’en éloigne d’un autre côté en ce qu’il ne renvoie pas à un vertige sans fin du sens ou une absence totale de vérité. Il laisse la possibilité au héros d’évoluer et d’apprendre. D’un point de vue littéraire, bien que le Carré suive le modèle d’écriture du roman d’espionnage, il l’a aussi en partie refaçonné de l’intérieur en le tirant du côté du roman policier et de la quête de vérité mais aussi en l’enrichissant des questions postmodernes. L’oeuvre de l’auteur se retrouve donc à une position médiane : il est entré dans la postmodernité sans toutefois céder à l’excès de la multiplicité ou du chaos et il continue d’utiliser les conventions d’un genre qu’il maniepour les faire évoluer vers une réflexion sur la place de l’être humain / Many readings of John le Carré’s spy fiction agree on its particular position within the genre. However, none link the specificity of the le carrean novels and writings, borrowing from the detective novel and the American hard-boiled novel, to the political, philosophical and epistemological context. When the first novels by John le Carré were published, in the 1960s, the world was facing great political and social upheavals. If new elements are then apparent in the spy novel, and if le Carré’s fiction is one of those which embodies these changes, traces of the epistemological break of the 1960s is clear in the author’s works: the flexibility of the moral values within the secret services, the dogmatic, and sometimes ideological, void in the professional agent, or again the reassessment of History, perceived as the result of acts of manipulation in le carrean fiction. Therefore, while his work enters the era of suspicion, as described and magnified in the covert world of John le Carré, it is a reflection of the anxieties specific to postmodernity at the end of the twentieth century. Nevertheless, on the other hand, the novels drift away from this as they do not convey an endless multiplication of meanings or a total absence of truth. The hero has the possibility of evolving and learning in his novels. From a literary standpoint, although le Carré follows the writing pattern of the spy novel, he has also partly reshaped it from the inside when he brought it towards the detective novel and the quest for truth and when he enriched it with postmodern questions. His work therefore occupies an in-between position: it has entered postmodernity without giving way to the excess of multiplicity or chaos, and it has continued to use the genre conventions to make them evolve towards a reflection on the place of the human being

La simple évocation du nom d’Arsène Lupin suscite l’assurance d’un divertissement mené jusqu’à son terme jubilatoire. Il ouvre en nous les portes d’un imaginaire plaisant, fait de mystères historiques, de richesses et d’aventures mémorables. Aussitôt le nom fabuleux prononcé qu’émerge une silhouette qui nous agrée, celle bien connue d’un cambrioleur rieur, séducteur et justicier. Un personnage au-dessus des lois et des toits, hors du commun, frondeur et dont les multiples aventures posent les pierres fondatrices d’un art nouveau en littérature. Apparu pour la première fois en 1905, au sein du magazine Je sais tout, le gentleman-cambrioleur a connu, depuis, une remarquable et incomparable longévité. Depuis, le personnage d’Arsène Lupin ne cesse de fasciner et de féconder l’imagination de ses lecteurs jusqu’à phagocyter le nom même de son créateur. Maurice Leblanc est alors un nom qui tombe dans l’oubli tandis que celui d’Arsène Lupin acquiert de son côté une certaine autonomie. Tout au long de leurs multiples parutions, Les aventures extraordinaires d’Arsène Lupin déploient un éventail de textes particulièrement propices à de nouvelles explorations génériques et esthétiques, un réservoir expérimental et fondamental à l’élaboration d’une réflexion nouvelle sur le roman policier en France / The simple evocation of Arsène Lupin causes the insurance of an entertainment carried out until its hilarious term. He opens in us the doors of imaginary pleasant, made historical mysteries, memorable wealths and adventures. At once the marked fabulous name that a silhouette emerges which approved us, that well-known of a merry, tempting and retributive burglar. A character above laws and of the roofs, out of commun run, critical and whose multiple adventures pose the stones founders of an art nouveau in literature. Appeared for the first time in 1905, within the magazine I know all, the gentleman-burglar knew, since, remarkable and incomparable longevity. Since, the character of Arsène Lupin does not cease fascinating and fertilizing the imagination of his readers until phagocytosing the name even of his creator. Maurice Leblanc is then a name which falls into the lapse of memory while that of Arsène Lupin acquires on his side a certain autonomy. Throughout their multiple publications, the extraordinary adventures of Arsène Lupin deploy a range of texts particularly favourable with new generic and aesthetic explorations, an experimental and fundamental tank with the development of a new reflection on the detective novel in France.

Orientador: Márcio Scheel / Resumo: Esta tese apresenta uma análise crítica dos romances de Marçal Aquino, a saber, O invasor (2002), Cabeça a prêmio (2003) e Eu receberia as piores notícias dos seus lindos lábios (2005), tendo por objetivo ressaltar como a trajetória dos heróis Ivan, Brito e Cauby contribuem para a experiência da forma do gênero policial. Para tal percepção, incluímos uma análise do conto “Matadores”, do mesmo autor, que servirá como matriz interpretativa dos romances. Argumentamos que os romances de Marçal Aquino são organizados em torno do ponto de vista de um herói que está inserido no mundo da pistolagem brasileira, contexto onde a violência é racionalizada e tornada matéria-prima do capital. Diante disso, os romances do autor não apenas dão certa continuidade, mas também realizam uma experiência com a forma tradicional da ficção policial, já que os heróis de Aquino, movidos principalmente pelo ressentimento, transitam entre os três elementos fundamentais do gênero, a saber, o detetive, o criminoso e a vítima. Sendo assim, os protagonistas de Aquino são uma espécie de síntese entre as três categorias do romance policial tradicional e o que eles vão fazer é mostrar que em termos de modelo narrativo há uma experiência da forma que problematiza aspectos da sociedade brasileira. Estes heróis tomam parte em um contexto histórico e político demarcado pela intersecção entre lei e ordem, por um Estado que agencia o crime e por matadores ajustados à lógica do trabalho e às leis do mercado, estando ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis presents a critical analysis of Marçal Aquino’s novels, namely O invasor (2002), Cabeça a prêmio (2003), and Eu receberia as piores notícias dos seus lindos lábios (2005), with the objective to highlighting how the stories of the heroes Ivan, Brito and Cauby contribute to experimenting with the detective genre form. In order to do so, we have included an analysis of the short story “Matadores”, by the same author, which will function as an interpretative matrix for the novels. We argue that the novels by Marçal Aquino are organized around the point of view of a hero who is immersed in the world of Brazilian pistolagem (banditry), a context where violence is rationalized and turned into raw material for capital. Considering this, the author’s novels not only develop the traditional form of the detective novel, but also experiment on it, since Aquinian heroes, propelled mainly by resentment, vary among the genre’s three fundamental elements: detective, criminal, and victim. In this way, Aquino’s protagonists are a kind of synthesis of the traditional detective novel’s three categories, and what they do is show that, in terms of the narrative model, there is experimentation with the novel’s form which questions and discusses some aspects of Brazilian society. These heroes take part in a historical and political context branded by the intersection between law and order, by a State that administers crime, and by hitmen adjusted to the logic of labor and market laws, vi... (Complete abstract click electronic access below) / Doutor

L’objectif de cette étude est de présenter une lecture critique et raisonnée de l’œuvre de Léo Malet. Une part importante est consacrée à sa production écrite, constituée de plus de cinq mille pages, allant des poèmes surréalistes aux romans populaires et policiers. Mais l’apport de l’écrivain à d’autres champs de la création n’en est pas exclu pour autant. A cet important corpus, il a fallu trouver un fil directeur, permettant d’aborder à la fois la personnalité et l’œuvre de l’auteur. C’est la quête d’une unité derrière une apparente hétérogénéité qui a semblé l’axe le plus à même de guider l’analyse : elle constitue la problématique de fond de ce travail. Le développement suit une progression en sept temps : Le premier est consacré à la présentation de la vie de l’auteur, soulignant la dimension éminemment autobiographique de son œuvre. L’étude de son évolution idéologique en est le prolongement naturel. La période surréaliste est abordée, du fait de son importance et de son apparente singularité dans le parcours de Malet. La quatrième partie analyse le choix de Malet de s’orienter vers la littérature populaire. On voit alors comment il se trouve à l’origine de la triple rupture épistémologique du roman policier français au cours du XXe siècle. La spécificité de son regard et de son écriture est ensuite évoquée, à travers une approche plus stylistique. Pour finir est évoquée la durable influence qu’a eue Léo Malet sur les diverses formes de la culture populaire française. / This study’s purpose is to survey and analyse Leo Malet’s work. It is mainly devoted to his written productions [more than 5.000 pages…], from Surrealist poems to popular and detective novels. Nevertheless, other artistic fields are not left apart. Because of his taking part in them, or because of his contribution, some films, TV productions or comics are also mentioned. Given the size of this corpus, a guiding thread had to be found, which could deal with the author’s personality as well as his work. The search for unity behind apparent heterogeneity seemed to be the best way to guide the analysis: it thus constitutes the central line of this study. The structure of this work decomposes into seven parts: The first one is devoted to the presentation of the author’s life; it allows to show how autobiographic his work is. The study of his ideological evolution follows, in a second part. The Surrealist period is evoked, because of its importance and of its apparent peculiarity within Malet’s work. Fourth part deals with Malet’s choice to turn towards popular literature. Then it is explained how he provoked a major evolution of the 20th century French detective novel. A survey of his personal style brings to light the specificity of his vision and of his way of writing. The last part eventually analyses Leo Malet’s long-lasting influence in French popular culture.

[pt] Este trabalho tem como objetivo analisar o romance O Delfim, de José Cardoso Pires, partindo do pressuposto de que ele seja constituído de duas histórias imbricadas: um romance policial e uma trama política. O livro foi escrito durante uma época de forte censura, por isso a análise será fundamentada na idéia de que a investigação do crime fica mais aparente para que se possa falar de política. Primeiro, analisaremos a trama policial; depois, a política, buscando evidenciar como, estruturalmente, elas se completam ou se existe algum traço de supremacia de uma sobre a outra. Será estudado, também, a proposta social do autor e seu objetivo como intelectual, de escrever sobre o Portugal do final da década de 1960, através de um romance inovador. / [en] This dissertation aims at analysing the novel O Delfim, by José Cardoso Pires, from the perspective that it is made of two intertwined stories: a detective novel and a political plot. The book was written in a time of strong censorship, and that`s why the analysis is done under the assuption that investigation of the crime is more apparent so that it would be possible for the author to discuss political issues. First, we analyse the detective plot; afterwards, we go over its political aspects to try to make it clear to what extent they complement each other or wether one overshadows the other. We will also considered the social intentions of the author, his intellectual motivations of writing about the Portugal of the late 1960`s, and his approach it with an inovative novel.

Submitted by Flavia Seregati (flavia_seregati@hotmail.com) on 2018-04-04T14:53:52Z No. of bitstreams: 1 Dissertação Flávia Seregati.pdf: 1579174 bytes, checksum: 1384eea7c92c97b5d09931d11d36e9e2 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-04-04T17:32:00Z (GMT) No. of bitstreams: 1 seregati_f_me_sjrp.pdf: 1590112 bytes, checksum: c93884131e037c302862396df9fd4bd1 (MD5) / Made available in DSpace on 2018-04-04T17:32:00Z (GMT). No. of bitstreams: 1 seregati_f_me_sjrp.pdf: 1590112 bytes, checksum: c93884131e037c302862396df9fd4bd1 (MD5) Previous issue date: 2018-03-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho tem como objetivo a investigação do léxico em romances policiais, com vistas a detectar e analisar a incidência de fatores pragmáticos na tradução (espanhol-português) de lexias simples e complexas, especificamente as consideradas tabus linguísticos. Como corpus de pesquisa elaboramos o MVM 4 composto pelas obras em espanhol, Milenio Carvalho I. Rumbo a Kabul e Milenio Carvalho II. Rumbo a las antípodas de Manuel Vázquez Montalbán e sua tradução para o português Milênio. Tendo como base a Lexicologia e a Pragmática, nosso estudo foi fundamentado no contexto do romance policial em que as lexias tabus foram encontradas. Assim, para o levantamento das unidades lexicais tabus (ULTs) utilizamos o método manual, dado que se fez necessário compreender o âmbito em que a lexia está inserida para que fosse possível classificá-la em uma das esferas de motivação de uso propostas. Desse modo, a análise das ULTs, iniciou-se após a separação das lexias conforme as cinco esferas de motivação de uso, de maneira que pudéssemos estabelecer uma relação entre as obras em espanhol e sua respectiva tradução para o português, atentando para as relações eufemísticas e disfemísticas presentes na tradução. Com foco nas ULTs e com base no modelo de divisão por esferas, proposto por Simão e Seregati (2016), foram examinadas as motivações de uso mais frequentes das ULTs, os recursos eufemísticos e disfemísticos utilizados na tradução das lexias tabu, as relações entre os eufemismos e os disfemismos e as esferas em que estão inseridas e, por fim, discutimos e propusemos a ampliação do modelo de divisão por esferas proposto por Simão e Seregati (2016). / This research aims to study the taboo lexicon in detective novels in order to observe and analyze the incidence of pragmatics factors in the translation (SpanishPortuguese) of simple and complex words, specifically the ones that are considered linguistic taboos. For this purpose, the MVM 4 has been created as a research corpus, being composed by the Brazilian Portuguese translation of the following Manuel Vázquez Montalbán's works: Milenio Carvalho I. Rumbo a Kabul and Milenio Carvalho II. Rumbo a las antípodas. Based on Lexicology and Pragmatics, this study was founded on the context of the detective novel in which the taboo lexicons were observed. Thus, a manual method was used for the taboo lexicons (ULTs) assessment, since it was necessary to understand the scope in which the lexicon was inserted, so that it could be classified in one of the proposed categories. Therefore, the analysis of the ULTs began after the lexicons were classified according to the taboo lexicon division of the use motives into five categories and in such a way that a relation between the novels in Spanish and their respective translations in Portuguese was established, highlighting the euphemistic and dysphemistic relations in the translation. Focusing on the ULTs and based on the division model proposed by Simão and Seregati (2016), the most frequent motives for the use of ULTs have been investigated, as well as the euphemistic and dysphemistic strategies used in the translation of taboo lexicons, the relation between euphemisms and dysphemism, and the categories in which they are inserted. And finally, after a discussion, an increase of the motives division model proposed by Simão and Seregati (2016).

This study aims to evaluate the original white colonisers‟ or settlers‟ position and experience in Africa and South Africa during the transitional period between 1998 and 2011, as represented by English white male protagonists who feature in The Lostness of Alice (1998) by John Conyngham, The Good Doctor (2003) by Damon Galgut, and Lost Ground (2011) by Michiel Heyns. The analysis of the selected novels illustrates that the legacy of colonisation and apartheid still influences the settler descendants‟ perception of self and the other. The analysis focuses specifically on the males‟ experience of space and place in the construction of identity, and the awareness that the expansion of space and place through the transgression of physical and psychological boundaries contributes towards a more balanced personality. After the dissolution of apartheid, contemporary white South African men, as exemplified by the three protagonists, have become aware of their minority status and tend to dissociate themselves from the country as home. As borderline figures, they contend with feelings of marginalisation and isolation. Increasingly conscious of their contradictory non-African identity, the protagonists undertake journeys during which they acquire insight into themselves as well as an altered perception of the other. Although the former settlers‟ experience of alienation and ambivalence about colonisation and apartheid has been depicted in various novels, the significance of this experience relating to white South African male identity has not yet been fully explored in a comparative study of Conyngham‟s, Galgut‟s and Heyns‟s works with reference to the authors‟ place within a postcolonial paradigm, their implementation of the detective narrative frame and the role of intertextuality and irony that can be seen to define the novels and suggest other interpretative possibilities. The novels are critically analysed in terms of the concepts of space and place, the presence, transgression and transcendence of boundaries, and the influence of these paradigms on the characters‟ sense of self and their relationship with others and society at large. The novels‟ narrative frame and strategies in relation to the myths of Africa are also investigated. The thesis argues that the apprehension articulated by representatives of European settlers regarding the consequences of colonisation and apartheid has become more prominent during the post-liberation dispensation. The acceptance of responsibility for the past and for others, as well as intense self-appraisal, should enable the three protagonists to achieve a more expansive sense of self and a meaningful existence. / PhD (English), North-West University, Potchefstroom Campus, 2015