The present work is focused on interpretation of the novel Daimón, written by Argentinian writer Abel Posse. It indicates the context of the "Latin America's new historical novel", comments the historical background of the story, touches the concept of time in the novel. Then the work analyses in detail the composition of the novel which is structured as a Tarot cards reading, explains the importance of the Tarot not only for interpretation of the Daimón novel, but also for understanding the World in general. Key words: Tarot, Lope de Aguirre, Abel Posse, new historical Latin America's new historical novel, dialogism, parody, heteroglossia, spiritual path, Toltec, Toltec shamanism, Carlos Castaneda, concept of cyclical time, contradictions, realization.

This study, Jupiter, a theatre play: an ideological discourse through literature, is based upon the play written by Francisco Gavidia that tells the story of the Salvadoran nation, which after having lived many decades under the Spanish yoke, is organized with the help of the Creole elite, in order to obtain independence. For Francisco Gavidia it is important to raise awareness of the importance of freedom in the Salvadoran population. The objective of this work is to analyze the main characters in order to identify the existence of an ideological message in the drama, Jupiter. To accomplish this purpose, we have used some drama concepts established by García Barrientos 2007; some other concepts based on the narrative theory by Mieke Bal (1995), and the theory of the Historical Novel explained by Fernández (2003); both theories have served as a tool to facilitate and deepen the study of the characters, some structural elements, and ideological discourse that we find in this literary work. Our study has focused on the analysis of the main characters, both fictional and historical, with the main character being a black slave: Jupiter. This figure represents the Salvadoran population that has lived several decades under the Spanish yoke. Then we find the figure of the woman embodied in the character named Blanca. This character plays the role of a passive woman, since she has no voice or power, and she is seen as an object through which the male characters can obtain power and material wealth. Another fictional character is Beltranena who represents the Spanish power in Salvadoran territory during the Colonial era. Finally, there are two historical figures who serve the purpose of leaders in the planning and execution of the rebellion to acquire the freedom for the people. Our hypothesis has been corroborated, since according to our analysis the characters deliver an ideological message, because the author exposes the ideology through the main characters.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2019-03-12T16:54:47Z No. of bitstreams: 2 Adriana_Biancato_2018.pdf: 1388176 bytes, checksum: 44c7d522af384b280d01810f54be9c37 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2019-03-12T16:54:47Z (GMT). No. of bitstreams: 2 Adriana_Biancato_2018.pdf: 1388176 bytes, checksum: 44c7d522af384b280d01810f54be9c37 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-12-12 / Based upon the hybrid history and fiction narratives, as possibilities of reinterpreting the past, we proposed a research that aimed at establishing possible approximations among a series of historical short stories selected from the book Amores Insólitos de nuestra historia (2001), by María Rosa Lojo, with the most recent theoretical approach about the mediation contemporary historical novel, which reveals the mixture of a-critical modalities - the classical and the traditional - with deconstructionist aspects – historical novels of Latin American and historiographic metafictions. In the short stories, as well as in the novels of the most recent modality, we saw a hybrid plot that Fleck (2017) classifies as being a "mediator" between traditionalism and the Latin American criticism / deconstructionism. From the point of view of Lojo's past (2001), we intend to highlight the conquest and the settlement of America through her short narratives, which privileges the expression of excluded voices, as they are not considered by the hegemonic history perspective and which, in many fictional narratives, the Argentinean identity is portrayed under the perspective of the unusual love of female protagonists. This way, we reveal about the possible actions of literature in the face of this silencing, especially, when it comes to the female voice in historiographical reports, with emphasis on the perspectives of the past recorded in the annals of history and reinterpreted by fiction. The corpus that served as the basis for this study and analysis are compound of four short stories from the selected work, being: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213), and “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Furthermore, as inserted in studies proposals of hybrid genres of history and fiction, carried by the Research Group "Reinterpreting the past in America: processes of reading, writing and translation of hybrid genres of history and fiction - pathways to decolonization", we highlight how the characters are represented on the historical extraction of Lojo's short stories, and, we point out at the mediating aspects that constitute these narratives. The theoretical basis that allowed us to establish the relationship between the hybrid historical novel and historical short tale are anchored in studies by Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), among others. / Com base nas narrativas híbridas de história e ficção como possibilidades de releitura do passado, a pesquisa efetuada procurou estabelecer as aproximações possíveis entre uma série de contos históricos selecionados da obra Amores Insólitos de nuestra historia (2001), de María Rosa Lojo, com os pressupostos teóricos mais recentes sobre o gênero romance histórico contemporâneo de mediação, o qual revela a mescla de aspectos das modalidades acríticas – clássica e tradicional – com os aspectos daquelas mais desconstrucionistas – novos romances históricos latino-americanos e metaficções historiográficas. Nos contos, assim como nos romances da modalidade mais recente, vimos uma escrita híbrida que Fleck (2017) classifica como “mediadora” entre o tradicionalismo e o criticismo/desconstrucionismo latino-americano. Sob a ótica da releitura do passado de Lojo (2001), evidenciamos a conquista e povoação da América por meio de narrativas curtas que privilegiam a expressão das vozes excluídas, que não foram consideradas pela história hegemônica e que, em muitas narrativas ficcionais, são as protagonistas dos amores insólitos retratados na construção da própria identidade argentina. Dessa maneira, revelamos as possíveis ações da literatura frente a este silenciamento, principalmente, da voz feminina nos relatos historiográficos, com ênfase às perspectivas do passado registradas nos anais da história e ressignificadas pela ficção. O corpus que serviu de base para o estudo parte da análise de quatro contos da obra selecionada: “La historia que Ruy Díaz no escribió” (p. 45-64), “El Maestro y la Reina de las Amazonas” (p. 127-145), “Amar a un hombre feo” (p. 191-213) e “Otra historia del Guerrero y de la Cautiva” (p. 215-245). Desse modo, inseridos nas propostas dos estudos sobre gêneros híbridos de história e ficção, impulsionados pelo Grupo de Pesquisa “Ressignificações do passado na América: processos de leitura, escrita e tradução de gêneros híbridos de história e ficção – vias para a descolonização”, evidenciamos como se dá a representação das personagens de extração histórica na contística de Lojo e, especificamos os aspectos mediadores que constituem essas narrativas. Os pressupostos teóricos que nos permitiram estabelecer a relação entre os gêneros híbridos romance histórico e conto histórico estão ancorados em estudos de Aínsa (1991), Menton (1993), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), entre outros.

No description available.

Ma thèse propose une analyse attentive de la ré-écriture de l'histoire articulée dans trois romans du collectif d'écrivains italiens publiant sous le pseudonyme Wu Ming: "Q", "54" et "Manituana". Partant du pamphlet publié par les Wu Ming en 2008 sur leur conception du roman historique et de l’écriture romanesque en général, the New Italian Epic (NIE), je propose deux angles d’approche pour mettre en évidence la relecture de l’histoire se dessinant dans les romans cités ci-dessus: la notion du regard oblique (qui est mentionnée dans le NIE); et le concept de multitude. La technique du regard oblique implique une réflexivité de la narration, une mise en abîme du processus narratif qui est effectuéé par le biais d’un point de vue insolite. Ce dernier peut provenir d'un animal, d’un objet animé, ou même d’un objet mystérieux comme le flux immatériel. Cette technique a déjà des précédents littéraires dans l’oeuvre d’écrivains tels que Italo Calvino ou Thomas Pynchon, mais dans la nouvelle forme qu’elle acquiert dans les textes des Wu Ming, elle permet l’articulation d’une relecture transversale de l’histoire. Cette relecture transversale émergeant dans les romans des Wu Ming est analysée dans la première partie de la thèse. La conceptualisation du regard oblique que je développe dans cette partie se base sur la théorie de l'anamorphose de Jacques Lacan, ainsi que sur le concept de la "troisième personne" proposé récemment par le philosophe Roberto Esposito. La seconde partie de la thèse aborde la problématique de la confrontation de l'écriture des Wu Ming à la situation socio-politique internationale contemporaine, soit comment leur ré-écriture de l'histoire s'insère dans la situation biopolitique globale. Dans les romans des Wu Ming on voit surgir une interprétation de cette situation globale qui dépasse les notions classiques de l'État et du citoyen. Le concept du biopolitique se prête à diverses interprétations: dans ses écrits des années 1970, Michel Foucault, qui est un des théoriciens majeurs du biopouvoir et de la biopolitique, ne parvient pas à proposer une interprétation unique et précise de ce dernier concept. Plusieurs philosophes italiens ont repris ce discours en le développant chacun à sa manière. Certains, comme Paolo Virno et, un peu plus tard Toni Negri, voient dans la notion de la Multitude une possibilité pour équilibrer le rapport pouvoir/personne et par conséquent pour développer de nouvelles possibilités révolutionnaires pour la déconstruction du biopouvoir. Les Wu Ming semblent suivre la voie positive de la multitude, qui selon leur conception correspond plus à une interprétation néo-marxiste de l’histoire. / My thesis presents an attentive analysis of the rewriting of history, articulated in three novels of the group of Italian authors publishing under the pseudonym Wu Ming: "Q", "54" and "Manituana". Starting from the pamphlet published by the Wu Ming in 2008, on their conception of the historical novel and the romantic writing in general, the New Italian Epic (NIE), I propose two ways to put in evidence the review of History that emerges from the novels mentioned above: the notion of the oblique gaze (mentioned in the NIE); and the concept of the multitude. The technique of the oblique gaze implies a reflexion on the narration, a "mise en abyme" of the narrative process which is made by the way of an unusual point of view. This technique already has some litterary precedents in the works of writers such as Italo Calvino or Thomas Pynchon,*but in the new form that it aquires in the texts of the Wu MIng, it allows the articulation of a transversal review of history. This transversal review emerging from the novels of the Wu Ming is analysed in the first part of the thesis. The conceptualization of the oblique gaze that I develop in this section is based on the theory of the Anamorphosis of Jacques Lacan, in addition to the concept of the "Third person" suggested recently by the philosopher Roberto Esposito. The second part of the thesis focuses on Wu Ming’s analysis and interpretation of the contemporary socio-political situation, namely how their re-writing of history is inserted in the global biopolitical situation. In the novels of the Wu Ming we observe the emergence of an interpretation of this global situation which subverts the classical notions of the State and the citizen. The concept of biopolitics lends itself to different interpretations: in his writings of the 1970's, Michel Foucault, who is one of the major theorists of biopower and biopolitics, does not succeed in suggesting a unique and precise interpretation of this concept. Many Italian philosophers have worked on this notion, each one of them developping it in her own way. Some, such as Paolo Virno and, some time later Toni Negri, see in the concept of the multitude a possibility to balance the rapport power/people and therefore to develop new revolutionary possibilities for the deconstruction of the biopower. The Wu MIng seem to follow the positive reading of the multitude, which according to their conception, corresponds more to a neo-marxist interpretation of History. / Nella mia tesi esamino l’emergenza di una riscrittura della Storia proposta dai tre romanzi: Q, 54 e Manituana, del collettivo di scrittori italiani che pubblicano sotto lo pseudonimo Wu Ming, i quali, attraverso una nuova proposta di romanzo storico e lo sguardo della Moltitudine, rimettono in questione la struttura del biopotere. Da un’attenta analisi dei testi sopracitati fuoriescono le peculiarità di un nuovo modo di concepire il romanzo storico in cui, fra le varie caratteristiche emerge quella dello “sguardo obliquo”, tecnica basata nell’esporre al lettore la narrazione facendola provenire da un punto di vista che non è quello che solitamente ci si attende, ma piuttosto un punto di vista insolito che può provenire da animali, oggetti animati, o addirittura da oggetti misteriosi come flussi immateriali. Questa tecnica ha già visto alcuni illustri precedenti letterari nelle sperimentazioni di scrittori quali Italo Calvino o Thomas Pynchon, ma nella nuova forma che fuoriesce dalla scrittura dei Wu Ming acquista la particolare capacità di leggere la storia in un contesto che si accosta in modo accentuato alle problematiche del contemporaneo. L’analisi di questa lettura trasversale, che copre la prima parte della tesi, è stata effettuata con l’aiuto di alcune teorie come quelle dell’Anamorfosi di Jacques Lacan, ma è attraverso il concetto della “terza persona”, riproposto recentemente da Roberto Esposito, che ho inquadrato lo sguardo obliquo come essenza estranea al rapporto dialogico io/tu. Nella seconda parte della tesi affronto la problematica dell’allineamento della scrittura dei Wu Ming alla situazione socio-politica internazionale contemporanea; detta in altre parole cerco di far emergere come la loro riscrittura della storia si inserisca nella situazione biopolitica globale. Nei romanzi dei Wu Ming, infatti, si scorge un’interpretazione del contemporaneo che sorpassa le categorie classiche di Stato e cittadino in favore di un’idea di egemonia universale esercitante un bio-potere globale. Il concetto di biopolitica si apre a varie interpretazioni. Già dalle prime iniziative negli anni Settanta Michel Foucault si era trovato in una situazione di ambigua difficoltà nel poter dare un’interpretazione unica e precisa dei concetti da lui stesso proposti. Vari filosofi italiani hanno ripreso questo discorso incompiuto sviluppandogli intorno una parte importante del proprio pensiero, ognuno però scegliendo una propria strada. Alcuni di loro come Paolo Virno e, successivamente, Toni Negri vedono nella categoria della “Moltitudine” una possibile via per equilibrare il rapporto Potere/persona e quindi ottenere nuove possibilità rivoluzionarie per poter decostruire il biopotere. I Wu Ming sembrano seguire la strada positivista della moltitudine, la quale si allinea alla loro natura marxiana.

L'objectif de cette étude a été double. D'une part, il fait l’inclusion du roman Estaba la pájara pinta sentada en el verde limón d’Albalucía Angel au genre du nouveau roman historique, selon la théorie exposée par Seymour Menton, Cristina Pons, Fernando Ainsa et Biruté Ciplijauskaité. Dans cet ordre on a examinée en détail l`utilisation faite dans cette nouvelle de l'histoire récente de la Colombie, ainsi que les questions relatives à la mise en fiction de personnages historiques, la métafiction, l`intertextualité et la polyphonie. Deuxièmement, cette étude analyse la perspective de genre qui définit cette nouvelle grâce à l'inclusion de la voix féminine que raconte des événements historiques à partir du point de vue de l'expérience des femmes, trait qui deviendra caractéristique du nouveau roman historique écrit par des femmes sur les femmes. Notre intérêt est d'analyser comment les différentes voix dans le roman parviennent à créer une nouvelle subjectivité féminine, renversant ainsi le discours historique officiel que le système patriarcal. Ces aspects, dans le contexte historique de la violence en Colombie, permettent une nouvelle lecture de la société colombienne du milieu du XXe siècle. / The objective of this study is twofold. On one hand it considers the assignment of Albalucía Angel`s Estaba la pájara pinta sentada en el verde limón in the gender of the New Historical Novel, according to the theory exposed by Seymour Menton, Cristina Pons, Fernando Ainsa and Biruté Ciplijauskaité. In order to get this, it discusses in detail how this novel utilizes Colombia’s more recent history, and it also considers different issues relating to the fictionalization of historical characters, metafiction, intertextuality and polyphony. Second, this study analyzes the gender perspective that defines the novel thanks to the inclusion of the female voice narrating historical events from the feminine point of view of women's experience, a feature that would become characteristic of the new historical novel written by women about women. Our interest is to analyze how the different voices in the novel manage to create a new female subjectivity, thus subverting the official historical discourse as well as the patriarchal system. These aspects, in the historical context of violence in Colombia, allow a new reading of Colombian society of the mid-twentieth century. / El objetivo de este estudio es doble. Por un lado se considera la adscripción de la novela Estaba la pájara pinta sentada en el verde limón de Albalucía Ángel al género de la nueva novela histórica, según los planteamientos teóricos expuestos por Seymour Menton, Cristina Pons, Fernando Ainsa y Biruté Ciplijauskaité. Para ello se analiza en detalle el uso que en la novela se hace de la historia más reciente de Colombia, así como se consideran también aspectos relativos a la ficcionalización de personajes históricos, la metaficción, la intertextualidad y la polifonía. En segundo lugar, este estudio analiza la perspectiva de género que define la novela gracias a la inclusión de la voz femenina que narra los hechos históricos desde un sentir propio de la experiencia de la mujer, rasgo que vendría a ser característico de la nueva novela histórica escrita por mujeres sobre mujeres. Nuestro interés reside en analizar cómo las diferentes voces en la novela logran crear una nueva subjetividad femenina, subvirtiendo tanto el discurso histórico oficial como el sistema patriarcal. Estos aspectos, en el contexto histórico de la violencia en Colombia, permiten una nueva lectura de la sociedad colombiana de mediados del siglo XX.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-03-08T17:21:26Z No. of bitstreams: 2 Bernardo_Gasparotto2017.pdf: 1699649 bytes, checksum: 24833b14df27784de20f4db2cfc620d7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-08T17:21:26Z (GMT). No. of bitstreams: 2 Bernardo_Gasparotto2017.pdf: 1699649 bytes, checksum: 24833b14df27784de20f4db2cfc620d7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / At the turn to the 20th century, a series of literary movements took place, which resulted in an alteration of the dogmas of literary writing and in the concept of literature itself. One of these movements was the Brazilian Modernism whose great exponents were Oswald de Andrade and Mario de Andrade, the former with Manifesto Pau-Brasil (1924) and Manifesto Antropófago (1928), and the latter with Macunaíma (1928). These productions permitted the embodiment of what was intended as the “anthropophagic process” of Brazilian culture, and for that, they employed the metaphor of the autochthonous cannibal. Based on this metaphorical image, we approached several productions made by the European chroniclers who had their first encounters and impressions on this figure and custom. Thus, by examining the conceptions developed by the chroniclers such as Christopher Columbus (1492-1493), Hans Staden (1557), Theodore de Bry (1590), Gabriel Soares de Sousa (1587), José de Anchieta (1563), Hernán Cortés (1866), among others, we bring a compendium of the representation of the autochthonous cannibal figure in the Latin-American space (in the context of the discovery of America and the first contacts between civilizations), which is explored and reconfigured in literature in the three works that will be analyzed, namely: El entenado (1983), by the Argentinean Juan José Saer; Terra Papagalli (1997), by the Brazilians José Roberto Torero and Marcus Autelius Pimenta, both works being models of the new Latin-American historic novel; and Meu querido canibal (2000), by the Brazilian Antonio Torres, constituting a historiographic metafiction. In these works, there are various perspectives on how to portray the cultural manifestation of the cannibalistic ritual, as well as the meaning effects produced from this ritual. We also examined the ways in which such cultural practice is approached by the writers who produce their discourse from an enunciative locus of the hybrid, interracial, syncretic and transcultural Latin America. From this analysis, we aim to highlight that, due to the theoretical process that resulted from this awareness – with emphasis the Brazilian modernist movement as a great exponent –, Latin America developed a theoretical-critical framework and a literary production based on cultural anthropophagy – from which resulted the Latin-American historical novel – that support the local literary production, giving voice and opportunity to those who were colonized and had their discourse marginalized by the canon guidelines. / Na virada para o século XX, ocorreu uma série de movimentos literários, o que resultou em uma alteração nos dogmas da escrita literária e no próprio conceito de literatura. Um desses movimentos foi o Modernismo brasileiro, que teve como grandes expoentes Oswald de Andrade e Mario de Andrade, aquele com o Manifesto Pau-Brasil (1924) e o Manifesto Antropófago (1928), e este com Macunaíma (1928). Essas produções foram fundamentais na corporificação do que se pretendia com o “processo antropofágico” da cultura brasileira, utilizando, para isso, a metáfora do autóctone canibal. Com base nessa imagem metafórica, retomamos diversas produções realizadas pelos cronistas europeus que tiveram seus primeiros embates e impressões sobre tal figura e costume. Assim, mediante o exame das concepções desenvolvidas por cronistas como Cristóvão Colombo (1492-1493), Hans Staden (1557), Theodore de Bry (1590), Gabriel Soares de Sousa (1587), José de Anchieta (1563), Hernán Cortés (1866), entre outros, trazemos um compêndio da representação da figura do autóctone canibal no espaço latino-americano (no contexto do descobrimento da América e primeiros contatos entre civilizações), que passa a ser explorada e reconfigurada pela literatura nas três obras analisadas, quais sejam: El entenado (1983), do argentino Juan José Saer; Terra Papagalli (1997), dos brasileiros José Roberto Torero e Marcus Aurelius Pimenta, ambos modelos de novo romance histórico latino-americano; e Meu querido canibal (2000), do brasileiro Antonio Torrres, uma metaficção historiográfica. Nessas, apresentam-se perspectivas diversas sobre a forma de retratar a manifestação cultural do ritual canibalesco, bem como os efeitos de sentido que são produzidos a partir desse ritual. São observadas, ainda, as formas como tal prática cultural é utilizada pelos escritores que produzem seu discurso a partir de um locus enunciativo da América Latina híbrida, mestiça, sincrética e transcultural. A partir dessa análise, buscamos, pois, evidenciar que, graças ao processo teórico que resultou dessa conscientização – destacando-se, como um dos maiores expoentes, o movimento modernista brasileiro –, a América Latina desenvolveu uma linha teórico-crítica, bem como uma produção literária com base na antropofagia cultural – da qual o romance histórico crítico latino-americano é fruto –, que serve para ancorar a produção literária local, dando voz e vez àqueles que foram colonizados e tiveram seu discurso marginalizado pelas diretrizes do cânone europeu.

It has always been important to study history. But what we can’t forget is that there’s more than one way of doing so. One of those is literature. In this thesis I will therefore study two contemporary historical novels: The Night Watch by Sarah Waters and The Underground Railroad by Colson Whitehead. The aim is to explore how they portray different kinds of historical experiences and how that may relate to questions that are relevant even in a contemporary context. Because both novels have an interestning relationship with time and space, I’m going to use the russian literary theorist Micheal Bachtins concept of the chronotope to explore how time and space operates and relate to eachother. In the end, this thesis also aims to show that literature can be a valuable object to study for those that are intererested in histiography.

Cette étude propose de réviser le postulat selon lequel le roman américain ne naît que dans les années 1820, pour suggérer que cette forme émerge plus tôt, entre 1789 et 1819. La période qui suit la fin de la guerre d’Indépendance n’est pas favorable à la naissance du roman : les élites craignent alors la déchéance de la jeune République, et la fiction risque de faire basculer le pays dans l’anarchie. Les œuvres des premiers auteurs américains sont fortement façonnées par l’impératif de didactisme et d’utilité sociale et morale qui pèse alors sur la création littéraire. Toutefois, le roman qui émerge dans les années 1790 demeure une forme sombre, plurielle et paradoxale qui résiste à toute tentative de recadrage et de maîtrise, comme en témoigne particulièrement l’œuvre de Charles Brockden Brown. Alors qu’une première tradition littéraire a commencé à se mettre en place au tournant du siècle, le roman subit une transformation esthétique majeure au cours des années 1800 et 1810. Il dépeint à présent avec nostalgie, dans une forme lisse, mesurée et linéaire, une Amérique qui n’existe plus ou qui n’a jamais existé, dans laquelle tout est perpétuellement ordonné et transparent. Ces ouvrages ne marquent pourtant pas l’avènement du roman américain, car leur équilibre est artificiel et les éléments sombres sont toujours lisibles au cours de ces deux décennies. Nous concluons qu’un roman spécifiquement américain se développe effectivement entre 1789 et 1819, qui, au moyen de deux esthétiques opposées mais complémentaires, s’interroge sur l’individualité, le temps et l’écriture, dans une quête perpétuelle d’équilibre et de maîtrise qui ne se réalise jamais vraiment. / Although critics still widely consider the American novel only emerges in the 1820s, this dissertation invalidates this assertion and suggests that it rises between 1789 and 1819 and has specific aesthetic characteristics. The period that follows the close of the Revolution is not favorable to the development of the novel: the elites fear the fall of the early Republic, and the novel might precipitate the nation into anarchy. The first American authors’ works are fashioned by the social and moral imperatives that influence writing at that time. Despite these measures, the novels published in the 1790s are dark, fragmented and paradoxical and resist any attempt at order and control, as Charles Brockden Brown’s works show. While the 1790s seem to witness the development of a specifically American tradition, the novel undergoes a major aesthetic change at the beginning of the 19th century. Long fictions now depict, with nostalgia and in a smooth, balanced, strongly linear form, an ordered and transparent American nation that is no more or that never existed. Yet these works do not indicate that the American novel has reached its mature form, as their balance is purely artificial and unruly elements are still at work during those decades. We conclude that a specifically American novel emerges during the thirty years following the Revolution: under two different but complementary aesthetics, this genre questions matters linked to individuality, time and writing, and is haunted by a quest for control and balance that never really comes to completion.

[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littératures et de langues modernes] / L'objectif de cette étude a été double. D'une part, il fait l’inclusion du roman Estaba la pájara pinta sentada en el verde limón d’Albalucía Angel au genre du nouveau roman historique, selon la théorie exposée par Seymour Menton, Cristina Pons, Fernando Ainsa et Biruté Ciplijauskaité. Dans cet ordre on a examinée en détail l`utilisation faite dans cette nouvelle de l'histoire récente de la Colombie, ainsi que les questions relatives à la mise en fiction de personnages historiques, la métafiction, l`intertextualité et la polyphonie. Deuxièmement, cette étude analyse la perspective de genre qui définit cette nouvelle grâce à l'inclusion de la voix féminine que raconte des événements historiques à partir du point de vue de l'expérience des femmes, trait qui deviendra caractéristique du nouveau roman historique écrit par des femmes sur les femmes. Notre intérêt est d'analyser comment les différentes voix dans le roman parviennent à créer une nouvelle subjectivité féminine, renversant ainsi le discours historique officiel que le système patriarcal. Ces aspects, dans le contexte historique de la violence en Colombie, permettent une nouvelle lecture de la société colombienne du milieu du XXe siècle. / The objective of this study is twofold. On one hand it considers the assignment of Albalucía Angel`s Estaba la pájara pinta sentada en el verde limón in the gender of the New Historical Novel, according to the theory exposed by Seymour Menton, Cristina Pons, Fernando Ainsa and Biruté Ciplijauskaité. In order to get this, it discusses in detail how this novel utilizes Colombia’s more recent history, and it also considers different issues relating to the fictionalization of historical characters, metafiction, intertextuality and polyphony. Second, this study analyzes the gender perspective that defines the novel thanks to the inclusion of the female voice narrating historical events from the feminine point of view of women's experience, a feature that would become characteristic of the new historical novel written by women about women. Our interest is to analyze how the different voices in the novel manage to create a new female subjectivity, thus subverting the official historical discourse as well as the patriarchal system. These aspects, in the historical context of violence in Colombia, allow a new reading of Colombian society of the mid-twentieth century. / El objetivo de este estudio es doble. Por un lado se considera la adscripción de la novela Estaba la pájara pinta sentada en el verde limón de Albalucía Ángel al género de la nueva novela histórica, según los planteamientos teóricos expuestos por Seymour Menton, Cristina Pons, Fernando Ainsa y Biruté Ciplijauskaité. Para ello se analiza en detalle el uso que en la novela se hace de la historia más reciente de Colombia, así como se consideran también aspectos relativos a la ficcionalización de personajes históricos, la metaficción, la intertextualidad y la polifonía. En segundo lugar, este estudio analiza la perspectiva de género que define la novela gracias a la inclusión de la voz femenina que narra los hechos históricos desde un sentir propio de la experiencia de la mujer, rasgo que vendría a ser característico de la nueva novela histórica escrita por mujeres sobre mujeres. Nuestro interés reside en analizar cómo las diferentes voces en la novela logran crear una nueva subjetividad femenina, subvirtiendo tanto el discurso histórico oficial como el sistema patriarcal. Estos aspectos, en el contexto histórico de la violencia en Colombia, permiten una nueva lectura de la sociedad colombiana de mediados del siglo XX.